Signal light from a Wellington Bomber consists of the light section circular blue colour. Attached to is a plate holds a plastic handgrip black with trigger and button from the base of the handgrip is an electric lead brown in colour with a section of black protectiv cord. “Lamp electrical Signalling Daylight Mark M1918 65686 CAV”lighting-electric, military equipment, wellington

The colour patch is 2nd Battalion Canterbury Infantry Regiment New Zealand Military Forces. They belonged to Harry Thompson who came from Sebastion near Bendigo and enlisted in New Zealand. Refer 323.3, 1258, 2027..1) Button, metal, round with 4 stars in the centre with "New Zealand Forces" around the outside. .2) Canterbury Regiment colour patch, felt material, square shaped black backing with central diamond shape, dark blue over red.uniforms-military-accessories, metalcraft-brassware, manchester-trimmings

Part of Graham Collection, donated by the Family of Misses Mary and Edith Maude Graham, of 4 Blair Street, Portland.Brown lace evening gown (possibly belonging to Miss Crosbie). Sleeveless, buttoned opening at back. Long skirt with numerous darts for fullness. Matching bolero jacket (3794.2) and likely to have been worn with brown satin heels (3800.1 and 3800.2).clothing, womens clothing, costume, evening wear, graham collection

A.C. Voltmeter, 150-600 volts non liner, semicircular scale ventilation holes. One termnal post on each side panel. Maker's name plate on top face below scale windo. Adjacent: spring-loaded contact button. Model 155. Serial Number 42339scientific instrument, ballarat school of mines, weston electrical instrument co

Black & White studio photograph.seated woman. Floral bouquet at neck of ball buttoned blouse above full length dress. Choker necklace above central bar brooch. 'With Love' caption written on reverse. Bartlett Bros Sandhurst printed on cover.Bartlett Bros Sandhurst.photograph, person, female

A Cigar cutter? Or Button Stamper? The blade/stamper is missing. Has a black wooden handle. It is constructed of steel, painted black with gold painted patterning, displaying flowers and leaves. The base is 18cm x 8xm and the height is 15cm Previously numbered #113.

Small photograph of a young woman seated with legs crossed and hands clasped on knees, wearing button up boots with handbag on ground. Photographer Stewart & Co 217 & 219 Bourke St East, Melbourne. Written on back in pencil Emily Howe ?Stewart & Cophotograph, portrait, female

NO INFORMATION EXCEPT NAMES.SMALL OVAL PHOTOGRAPH OF MR. BOB YOUNG - STANDING AND THE FORMER MRS ELIZA DAVIES SITTING. MR. YOUNG WEARING HAT, TIE AND FIVE BUTTONED WAISTCOAT - MRS. DAVIES WEARING LARGE DECOATIVE HAT, WHITE JABBO AND DARK DRESS.local history, photography, photographs, early citizens

On the 1984 Los Angeles Olympic Uniforms donator Doug wrote- During the 1980s the Australian wool industry was at its most prosperous times with record numbers of sheep producing wool receiving ever increasing values due to the success of the Reserve Price Scheme, and the overall guidance of the Australian Wool Corporation (AWC). As a humble technician, my role was a low profile newly created position of “Controller, Technical Marketing” where wool was to be marketed on its technical properties, as distinct from the “Product Marketing Group” which exploited trhe traditional high profile approach of marketing wool;s superior fashion attributes. The Woolmark was the tool central to this approach. When the forthcoming Los Angeles Olympic Games was announced, the Product Marketing Group seized upon the chance to show the world that we could make top fashion garments and display them on our elite athletes on the world stage. A concept was launched using a contemporary top designer, Adel Weiss, with the most exclusive fabrics and knits available, and all with a lot of hype. This launch failed dismally for the following reasons- - The designer did a wonderful job presenting an excellent fashion range on perfect skinny models. The AOC however wanted a uniform which had an obvious Australian appearance when fitted to elite, and frequently muscular, athletes. - The fabrics chosen did not reflect the performance required by travelling athletes, there was no recognition of the need for ‘easy care.’ - There was no recognition given to the problem of measuring, manufacturing and distribution of a range of articles when the selected athlete could be domiciled anywhere in Australia. - There was no appreciation of such historical facts as Fletcher Jones, who had been unofficial suppliers dating back to the 1954 Olympics in Melbourne, and the Fletcher Jones board member, who was also an AWC board member, and was not in favour of the change. The project passed from Product Marketing to Public Relations, a big spending off-shoot of the AWC Chairman David Asimus, and due to the day to day operations of the project was passed to me and PR took care of the financial matters. The first task was to meet with the AOC and find out exactly their requirements. This lead to the production of a design and manufacturing brief, cointaining exact time lines for each event required to ensure an appropriate uniform on every athlete chosen to represent his/her country on the date given for the Opening Ceremony in Los Angeles. Working backwards the timeline becomes- 1. Noted the exact date of the Opening Ceremony. 2. Estimated the date for distributing completed garments to each athlete. 3. Estimated the time span available for measuring each athlete and commence making each component of the ensemble to the individual measurements of each athlete. 4. Decided the date for making the final choice of uniform design concept. 5. Decided the date for distribution of the design brief to selected designers. These five steps were spread out over a two year period. The Commonwealth Games occur midway between each Olympic Games, work on the Olympic uniform commences the week after the Commonwealth Games closing ceremony and MUST be ready by the prescribed day two years hence. The project also had to remain cognisant of trade politics existing within the span of the task, as well as the temperament of designers in general. It is no overstatement to say that in the past every designer in Australia believed they could, and should, be chosen to design the Australian Uniform. The final choice of designer almost always faced criticism from the fashion press and any designer who had been overlooked. However, with the contenders receiving an exacting brief the numbers of serious contenders greatly reduced. The Los Angeles Olympic Uniforms. A further reason for the AWC bid failure to design the LA uniform was that the AOC had already chosen Prue Acton to design it. This was based on her proven performance during previous games as she had a talent for creating good taste Australiana. Her design concepts also considered the effect when they were viewed on a single athlete as well as the impact when viewed on a 400 strong team coming on to the arena. A blazer trouser/skirt uniform in bright gold was chosen for the formal uniform. It was my task to select a pure wool faille fabric from Foster Valley weaving mill and have sufficient woven and ready within the prescribed timeline. The trouser/skirt fabric selected was a 60/40 wool polyester plain weave fabric from Macquarie Worsted. This fabric had a small effect thread of linen that was most attractive when dyed to match some eucalyptus bark Prue had brought back from central Australia. For the Opening Ceremony uniform, Prue designed a series of native fauna, a kookaburra for the men’s shirt and a pleated skirt with a rural scene of kangaroos, hills and plants. This presented an insurmountable printing challenge to the local printing industry as it had an unacceptably large repeat size and the number required (50) was also commercially unacceptable. The solution was a DIY mock up at RMIT and the employment of four student designers. The fabric selected for this garment was a light weight 19 micron, pure wool with a very high twist yarn in alternating S and Z twist, warp and weft. This fabric proved to be the solution to a very difficult problem, finding a wool product which is universally acceptable when worn next to the sin by young athletes competing in the heat of a Los Angeles summer. Modifications to this fabric were developed to exploit its success when facing the same problem in future games. Garment Making- The most exacting garment in the ensemble is the tailored blazer, plus the related trouser/skirt. Unfortunately tailoring athletes that come in various shapes and sizes such as; - Weight lifters develop an enormous chest, arms and neck size. A shirt made to a neck size of 52 would produce a shirt with cuffs extending well beyond the wearer’s hands. - Basketball players are up to 7 feet tall and garments relying ona chest measurement grading would produce a shirt with cuffs extending only to elbow length. - Swimmers develop enormous shoulders and slim hips, cyclists by contrast develop thighs I liken to tree trunks and a uniform featuring tight trousers must be avoided at all cost. Suffice to say many ensembles require specialist ‘one off’ treatment for many athletes. Meanwhile there is a comfortable in between group who can accept regular sizes so you can cater for these by having back up stock with plenty of built in contingencies. Athletes may be domiciled anywhere in Australia, this creates a fundamental problem of taking their measurements. The Fletcher Jones organisation was key to answering this problem due to their presence in every capital city, as well as many provincial towns around Australia. Each athlete on being selected for the Olympic Team was simultaneously requested to visit their nearest Fletcher Jones shop. The standardised measurement data collected was shared with the other manufacturers, e.g. Pelaco Shirts, Holeproof Socks and Knitwear, Maddison Belts, and even Hush Puppy Shoes. As the time for the Games approached the AOC made arrangements for combining meeting of all. Selected available athletes at the Australian Institute of Sport, Canberra, where, among other things, they were fitted and supplied with their uniform. The method evolved as follows.Men’s cream coloured button up, collared shirt. Images of a kookaburra have been printed onto the shirt, a single kookaburra on the left breast and a pair of kookaburras on the reverse of the shirt. The kookaburras are printed in a brown tone to complement the cream colour of the fabric.On tag - FMaustralian wool corporation, 1984 los angeles olympics, olympic uniforms, men's uniforms, sport, athletes

These wool undervests were purchased by Edith Bender for her husband Edwin, prior to 1963. Edwin would catch a ‘Red Rattler’ train along the North Shore line to go to work in Pitt Street., Sydney. Edith was concerned Edwin would catch a cold in the unheated train or in his unheated office, so she brought these woollen undervests for him to wear to work. Edwin would wear the undervests under a woollen suit and with a woollen overcoat. Edwin passed away in 1963, at which point Edith stored the undervests away. They were passed to Edith’s daughter when Edith passed away in 1980. They were then passed to Tanya Davis on the death of her mother. Tanya donated the undervests to the National Wool Museum in 2021.2x cream wool undervests. Henley style with short sleeves and three buttons at the front. Labels from the maker ‘Braemar’ have been stitched to the neckline of both vests. An additional label is stitched under the first button on the front of both undervests. Label stitched to neck of vest: BRAEMAR / MADE IN SCOTLAND / OPTIMUS / PURE WOOL / TREATED TO RESIST / SHRINKAGE / QUALITY / B. OPTIMUS Label stitched to front buttons of vest: MADE IN SCOTLAND / FOR FARMER’S / SYDNEY Attached swing tag: BRAEMAR / The WASHING of WOOLLENS / PREPARE a bath of good bar or flake soap, thoroughly dissolved in water not hotter than the hands can bear. Squeeze the garments through the hands several times in the bath. Don’t rub them on a board. Rinse in warm water until soap is thoroughly removed. Wringing should be done in the hands. Stretch well to width and length and dry at once, preferably in the open air Stretch again in the hands when dry. Attached swing tag. Reverse: IMPORTANT POINTS / Do not use soda or washing powders. / This garment must not be subbed on a board, or subjected to mechanical friction.red rattler, wool clothing

Black and white photo of Mitcham Post Office built 1924. East Corner Station street and Whitehorse Road. For details, see NP409. See also Button family house in Station Street next to lane now called Quality Way..markham, mary., patrick joseph, mitcham post office

Light horse infantry / motorcycle ridding breechers.Uniform, light horse mounted infantry jodhpurs with leather and cotton drill braces. Also known as handsom ridding breechers Lower leg calf laces. Paddded inner leg. 5 button fly. Size 12 Made 1931 by C.R.RedrobeC.R.Redrobe 1939 Size 12

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 button featuring a white map of Australia on a dark blue ground with the stars of the Southern Cross surrounding, all within a gold border. The phrase ‘I Will Help Until the War is Won’ is printed in red across the map."I Will Help Until the War is Won"patriotic buttons, first world war (1914-18), 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 circular pressed metal fundraising button that was produced at the beginning of World War 1. ‘Wattle Day’ was celebrated before, during and after the War. For each Wattle Day different designs were chosen. This design features sprigs of wattle on a brown background."Wattle Day"wattle day, patriotic buttons, first world war (1914-18), badges

Adhesive label or sign for use on the press for information button and speakers and CBD tram stops - has the letter I within a circle and the words "Press for Information" underneath. On the base has Yarra Trams contact call numbers. Two copies held.trams, tramways, yarra trams, timetables, melbourne, information

Uniform issued to "LOCKYER" 114493.Jacket - khaki colour wool serge fabric, Battle dress style, belted at waist with metal buckle. Dark green plastic buttons. Collar, shoulder epaulettes, two front pockets with concealed button down flap and sleeve cuffs. Shoulder epaulettes - rank three pips, red, cream and brown embroidery for Captain. Shoulder sleeve insignia, red fabric with dark blue embroidered lettering. "ROYAL AUSTRALIAN ARMY/ ORDNANCE CORPS". Green colour cotton twill fabric pocket and waist lining, manufacturers white cor=tton label inside pocket lining. 2. Trousers - khaki colour wool serge fabric, Battle Dress style, with fob pocket, two side pockets, one back pocket with concealed button down flap. Green colour polyester fabric lining with manufacturers white cotton label inside on back pocket, 6 button fly. Manufacturers information on labels - black ink print. 1. "A.G.C.F./ VIC 1977/^ /8405.66.025.6423/ SIZE OF CHEST/ SIZE 109/ 112PR/ YARRA FALLS 69/ BATCH, 21657/ DRY CLEAN ONLY/ CREASE UPPER/ HALF OF LAPELS ONLY/ NO./ NAME" Handwritten - blue ink pen - "LOCKYER/ 114493". 2. CONWAY BROS. PTY LTD/ ADELAIDE ^ 1968/ CLASS 8405-66-025-6199/ Y.F. PP2/ SIZE & WAIST 41PR/ MATCHING JACKET 43/44 P.R. / Dry Clean only/ Repress on original seams/ Creases set by Si-ro-set./ mending patch attached/ NAME/ ARMY NO." Handwritten black ink pen "LOCKYER/ 114493"uniform, army, battle dress, lockyer

Men's black woollen dinner jacket with black polished cotton lapels. Single breasted fastened with one X 2cm black fabric covered button, with another button attached to the back. Body of jacket lined with black self stripe cotton fabric. Long sleeves lined with cream coloured polished cotton fabric with fine black stripes. Front pockets below waist have slit openings lined with black cotton fabric. Slits at wrists of sleeves (5cm) fastened with 1 X 1cm black fabric covered buttons. Found inside pocket, cotton button hole tab two black fabric covered 2 cm buttons. Hanging tape across inside back of neck (11cm X .7cm) cotton tape. Owner; Samuel John Tongway 1894-1988. Australian Dictionary of Biography. www.adb.anu.edu.au/biography/tong-way-samuel-john-14875Woods & Manson 48-50 Elizabeth St., Melbourne. Date 1/10/21. No.1542. S.J.Tongway.costume, male, men's black dinner jacket, has matching waistcoat.

St. Patrick’s Tennis Club Opening c 1929 -1931. St Patrick Church in background. The photo was taken at St Patrick's tennis courts. Possible the opening. The tall gentleman standing near front, slightly right, hat in hand wearing button hole with his wife holding a Rosey is the mayor and Mayoress Mr. & Mrs. C. Brown. Gentleman near left front in collar & tie is Mr. Cowman.Black and white photograph of a large group of people assembled for a special occasion. Church building in background.stawell sport religion

Clothing. Infant's cream silk dress with bodice front and back. Casing at waist with .5 cm cotton ribbon insert. High round neckline with 1.5 cm lace trim and casing with cotton ribbon insert. Bodice at front has embroidered circle and leaf pattern. Centre back opening (28 cm) fastned ribbon ties at neck and waist and 1 X one cm button and button hole between. Straight long sleeves edged with 1.5 cm lace at wrist. Skirt is edged with 3 cm scalloped lace at hemline with two horizontal rows cutwork stitching.costume, children's, infant's cream silk dress

Blue cesarine, trimmed with red and white check cotton. Bib has red and white centre panel, with a three cm band on each side. These bands extend over the shoulder, and cross at the back, to fasten with a button and button hole at the back waistline. Skirt gathers onto the 4 cmwide waistband. An 8.5 cm X 9 cm rectangular pocket of red and white check cotton on right hand side. A 3 cm wide band of red and white cotton decorates the skirt 4.5 cm above the hemline.( This trim is badly worn-one section completely gone).costume, children's, child's cotton apron

Faded colour photo of the St. Arnaud Historical Society Bush Band. They are all sitting on chairs playing their instruments. A sign in front of the drum has - St. Arnaud Historical Society Bush Band - printed on it. Written on the back is:- the original Historical Bush Band Formed Dec 1979. Players from left to Right - (Ted) John Wallace- 5 String Banjo; Alf Johns- Button Accordion; Keith McDonald-Piano Accordion Bass drum & symbol; Jim Pritchard-Button accordion. Taken at Australia Day ceremony at Pioneer Park St Arnaud 1980.photo, group, st arnaud historical society bush b, peter ellis collection, st arnaud historical society bush band, (ted) john wallace, alf johns, keith mcdonald, jim pritchard

Standard dress uniform jacket for soldiers.Khaki coloured single breasted jacket fastened with four centre plastic buttons and a belt. Belt attached to jacket on back via two leather loops buttoned around a fabric loop. Jacket carries two breast pockets on exterior with flap, each fastened with single plastic button and two metal press studs. Two hip pockets with flaps, unfastened. Interior is lined with synthetic fabric; one interior chest pocket on the left hand side underneath which is a manufacturers label (transcribed below). Small square paper tag sewn into left jacket interior (transcribed below).Interior label reads "E.W. P/LTD./SOUTH AUSTRALIA/1968/[broad arrow symbol]/SIZE 36 SHORT/CLASS 8406/66-019-8479/ARMY No./NAME/DRY CLEAN ONLY./REPRESS USING IRON AND DAMP CLOTH OR MEDIUM TO HOT STEAM IRON./CREASE UPPER HALF OF LAPELS ONLY." Written on the label is handwritten text "J.V." And "12/0L/0/67." Stamped in purple ink "BATCH No./385." Paper tag reads "62000/LOT 12 36S/GLOBE6/67."military, uniform, vietnam war, 1960s, dress uniform, beechworth, returned services league

Refers to the service of Sgt "Anthony Kelynack". 15th Tpt Sqn CMF.1. Khaki Jacket - 4 front pockets. Each pocket held shut with gold button. Epaulettes held shut with brass button. Motif on buttons is - crossed swords, kangaroo and a crown. Cloth Sergeants rank badges each arm. Cloth Australian Arm badge on left shoulder. 2. Khaki Polyester/wool trousers. Zip fly. Two side pockets, one rear pocket. 3. Khaki wool/polyester trousers. Brass belt keepers attached, zip fly, three pockets. 4. Khaki, polyester trousers. Zip fly, three pockets.army, uniforms, anthony kelynack, passchendaele barracks trust

This was probably used by the Powell family. Selena Powell came from Eden to Orbost at the age of 18. She met and married Henry James Powell in Orbost.This item is an excellent local example of the type of hand made tea cosies which were used in an Australian domestic setting during the 1920's through to the 1960's. Fawn coloured hand-knitted tea cosy. The wool has been brushed to resemble the fur. It has brown button eyes and the nose and mouth are sewn in black yarn. The feet are embroidered in black and it has a narrow green velvet ribbon around the neck.tea-cosy domestic-item tableware handcraft knitting powell-selena

Jacket - brown cotton twill fabric with shoulder epaulettes, long sleeves, button cuffs, two inside pockets, metal buttons, waistband with draw tape. Cotton manufacturers label back of jacket below collar, with black print information and handwritten information.Cotton label information - black ink print. "V.555/MADE IN/ AUSTRALIA/ 1943/ SIZE/ D^D/ 30". Handwritten black ink pen "3/92404". uniform, army, workwear

Refers to the service of "WO2 Tommy Pattison". Refer Cat No 5342.41. & 2. Jungle green Australian Army shirts. They have two breast pockets that shut with one button. They are long sleeved. On each sleeve is the crown, cloth badge of Rank for a Warrant Officer Class Two. The fronts both have six buttons.1. The Manufacturer marks are = “AGCF. Victoria 1981” 2. The Manufacturer marks are = “Fairmark. Vic 1982”australian army, uniforms', wo2 tommy pattison.

Clothing. Man's cotton swim suit.Fine interlock cotton. Sleeveless deep cut armholes, neckline, legs and overskirt trimmed with white band - 4 cms wide on skirt. Three button fastening on left shoulder. Skirt bodice extends to thigh length.The ''Hawkins''. One piece Canadian, Unshrinkable Surfer. Registered 532 (?)costume, male, swim suit

Small head and shoulder portrait of a man. He is wearing a jacket with a white bow tie and vest which is buttoned up to the neck. Photo mounted on yellow card with photographer's name and address printed on the front and back. Photo also has a gold border.M. Bent, Centre of Pall Mall, Sandhurstphotograph, portrait, male, portrait of a man, m bent

sepia photoghraph mounted on green board. Man seated, woman standing. Man wearing 3 piece suit, button hole, watch chain. Woman wearing large hat, long dress with frills on bodice, sleeves, Studio photo, curtain at background.'A.E. Frost, 172 Queen St., Melbourne 'person, family, wedding portrait