This satchel belonged to John Malcolm Fraser (1930-2015), the 22nd Prime Minister of Australia from 1975 to 1983. Malcolm Fraser was educated at Melbourne Grammar and Oxford University and lived for many years on the family property, Nareen in the Western District. He was the leader of the Australian Liberal Party and was the Federal member in the seat of Wannon in the Western District, an area which included Warrnambool. As the Prime Minister he took a particular interest in foreign affairs. This satchel was donated by Malcolm Fraser to a charity auction held in Warrnambool in 1997 in aid of the Red Cross and the purchaser of the satchel at that time has since donated the item to the Warrnambool and District Historical Society. This satchel is of considerable significance as it belonged to Malcolm Fraser, the Prime Minister of Australia from 1975 to 1983, the local member in the Federal seat of Wannon and a property owner and resident in the Western District of Victoria. This is a brown leather brief case or satchel. The compartment on one side has a metal catch and holders inside for pencils and pens. This side also has another compartment with a zip fastener and two extra pockets with flaps on the top held by metal catches. There is another compartment on the other side with an extra pocket enclosed with a zip folder. There is a leather handle on the top of the satchel and inside one of the pockets is an extra leather strap to extend the handle length. The handle has a maroon-coloured airways tag attached with information on the satchel’s owner. There is some scuffing near the top handle. The satchel contains a newspaper cutting and an information sheet regarding the charity sale of the item.F. Rvnci Roma QANTAS First Class Rt. Hon. Malcolm Fraser 44th Fl. 55 Collins St. Melbourne Victoria Tel 03 65 41 822 malcolm fraser, australia prime minister, history of warrnambool

Grey Butcherbirds live in wooded habitats, including suburban areas, from the north of Western Australia, across different parts of the top of the country, through to mid-eastern Queensland, and then south along the eastern side of the country all the way down to Tasmania. They have a 'lovely, lilting song', and are fiercely protective of their nests and chicks, swooping at presumed attackers with enough strength to sometimes draw blood. Adult Grey Butcher Birds are typically a light grey colour with dark heads and white underparts, while their young are typically olive-brown. The mix of these two types of colouring on this animal suggests that it is a younger bird. This bird appears thinner than most Grey Butcher Birds, but it is unclear if this is because of its age or because of inaccurate taxidermy. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century. This specimen is particularly special in the Burke Museum Collection as it is part of a male/female pair (see Relationships). Many birds in the collection were originally donated in male/female pairs, but at least one specimen has been lost, leaving these as one of the few surviving sets.This Grey Butcherbird (likely male, based on size) has a bill that is dark grey at the front with a sharp hook but becomes lighter towards the face. The majority of the feathers on its back are light brown with some grey feathers around the lower half. It's crown area is a dark black colour and its tail is a dark grey. The feathers of its underparts and a small patch on either side of the neck are a yellow-white colour. There are also grey feathers coming through on its underparts. The eyes are brown. The bird stands on a brown, wooden perch with a circular bar, curved stand, and circular base. It has an identification tag tied around its left leg.19a / Collared Crow. Shrike / See Catalogue, Page 10 /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, australian birds, butcher bird, butcherbird, grey butcherbird, collared crow-shrike, australian butcherbird, tasmanian butcherbird, tasmania, bird pair

Kathryn Knitwear, founded by Robert Blake, manufactured high quality children’s knitwear in Melbourne from the 1940s – 1980s. Robert Blake began manufacturing children’s knitwear in his bedroom in Strathmore using a hand powered machine in the late 1940s. The operation moved to Ascot Vale and Essendon, before eventually establishing a factory in Moonee Ponds in the early 1950s. The business continued to expand, necessitating a move to a new factory in Broadmeadows. By 1962, the Broadmeadows factory was producing an average of 20,000 garments per month, which increased to 24,000 by 1964. Robert Blake’s Son, Brendan recalls that “The Kathryn brand was famous around Australia, anywhere children needed to keep warm and dress smartly. It also won a number of wool fashion awards”, including the 1969 Wool Awards, which was held by the Australian Wool Bureau and published in Women’s Weekly. The Kathryn range was designed for durability, comfort and care, without sacrificing style. They used patterning techniques that increase stretchiness, comfort and fit, as well as integrating decorative elements into the fabric to prevent them from being bulky, uncomfortable or tight. Making longevity of style a priority, Brendan Blake remembers that “there was one particular garment that was in the range for at least thirty years”. He also recalls “In the past, when women have found out that I was associated with Kathryn Knitwear, they would often relate to me the story of a garment they had purchased or received as a gift and, when their child had grown out of it, they would hand it on to another child. Several ladies have told me of purchasing garments for their daughters’ glory box, or saving a particular garment after their daughter had grown out of it. Brendan Blake: “At the peak of their operation they employed approximately two hundred people, mainly women and girls. A family would often seek to send their daughter to work in this company because they knew they would be looked after and safe. One lady wrote to me telling me that working at the Moonee Ponds Factory prior to getting married was the happiest time of her life.” In 1963, workers at the Kathryn factory earned £13 per week, which was 8 shillings and 8 pence higher than the minimum weekly wage for female workers in the textile manufacturing industry (£12 11s 4d). By 1970, the Kathryn Knitwear brand expanded from children’s knitwear into womenswear under the brand name ‘Lady Kathryn’, and for boys and men under ‘Robert Blake’. Continuing to diversify their distribution, they also began exporting ‘Kathryn’ garments to New Zealand, the Pacific Islands, and Japan. ‘Kathryn Knitwear’ was well-known for their early adoption of modern materials and techniques that had broad appeal to their customer base. This is shown in their early use of the acrylic fibre ‘Orlon’ in the 50s and 60s and ‘Superwash’ wool in the 1970s. Many of Kathryn Knitwear’s styles, particularly those that were long running staples of the brand, were available in both wool and Orlon to suit the consumer’s preference. Wool has been renowned for its excellent properties for thousands of years, by people from all over the world. Not only good for thick winter woollens, it can help keep you cool in summer, as well as being durable and resistant to water, fire, ultraviolet light, stains and odour. Far from the humble origins of one man in his bedroom with a hand-cranked machine; at its closure in 1980, the Broadmeadows factory of ‘Kathryn’ housed more than 100 machines, including 53 sewing machines and 45 knitting machines. Robert Blake was “a passionate advocate for wool and Australian Made” throughout his whole life. A strong thread that ties through the lifespan of Robert Blake and Kathryn Knitwear is a balance between adopting new innovations without sacrificing the core values of durability, comfort, care and style that had made the brand so well known. Their legacy forms an integral part of both Australian social and manufacturing history.Grey wool Jumper with Blue and grey cable design on front. Vertical cable pattern is two sets of intertwining grey blue cable pairs on a purl stitch background in alternating rows of blue and grey. Front panel of jumper has five cable panels separated by smooth stocking stitch panels. Jumper has long sleeves and crew neck with thick ribbed collar and cuffs. Style B/110, Colourway Silver/Denim, Size 8 .2) 2 Sample tags stapled together with manufacturing information, including sizes and colours available, as well as knit swatch samples for colourways Brown/Woodgrain, Denim/Blue Shadow and Pebble/Oyster.1) [white label at back neck with green and black printed writing] ROBERT BLAKE Size 8 / knitwear HEIGHT 130cm MADE IN AUSTRALIA .2) [blue sample label] STYLE B/110 Crew Neck Wool Pullover SIZES: 2 4 6 8 10 PRICE: $10 [amended to $11 in blue pen] $[written over in blue pen so as to be illegible] [handwritten in blue pen] $12.55 SIZES: 12 14 PRICE: [printed] $12.30 [handwritten over top in blue pen] $13.15 COLORS: Silver/Denim, Brown/Woodgrain, Denim/Blue Shadow, Pebble/Oyster. Dec on Del. [cream brand label] [OBVERSE] ROBERT BLAKE [REVERSE] ROBERT BLAKE KNITWEAR MELBOURNE, AUSTRALIAknitwear, clothing, children's clothing, jumper, manufacturing, fashion textile production, machine knitting

For many years Legacy had a "Back to Caulfield Race Day" for Legatees, widows and their families. 1995 was the 50th anniversary of the end of World War 2 and the race day was part of the "Australia Remembers" commemorations. Also a Legacy 'Lone Pine' was planted. The article in the Answer says: "Over 800 members of the Legacy family (past and present) reunite at the "Australia Remembers" Back to Caulfield Commemorative Race Day held on August 12th. It was a special day which incorporated a wide range of activities, including a display of military vehicles, a flyover, a parachute jump by the Red Berets, military bands, and displays of memorabilia when the racecourse was used as an army camp. An official ceremony also included the presentation of a Legacy 'Lone Pine' (a descendant of the Gallipoli 'Lone Pine') by the President of the Melbourne Legacy, Legatee David Millie, which was very warmly received by the Chairman of the V.A.T.C., Mr Peter Lawrence. Official guest was the Premier of Victoria Jeff Kennett Photos include groups of Legacy Widows and dependents enjoying the day. Onename tag is legible - Kate Brettoner. See also photos at 01003 and 01091 and 01092.Legacy retains a tie with Caulfield racecourse as it was once an army camp and staging post of young men going overseas to war and now it is the site of a lone pine. The annual gathering at Caulfield racecourse was an event that gets the Legacy family together.Colour photo x 12 of an event at Caulfield racecourse, and an article in The Answer.Printed on the back film number 783, 786, 787, various frame numbers.answer, events

The Pacific Black Duck is also known as the Grey Duck in New Zealand. Despite these names, the plumage of the bird is brown in colour with the occasional cream and small amount of black. This species of Duck is located in all of Australia with the exception of the most arid zones. They can also be found throughout the Pacific region. The Pacific Black Duck resides in a range of different habitats that have some sort of water. These birds feed on aquatic plants, crustaceans, molluscs and aquatic insects. To catch their food, these birds plunge their heads and necks under the water with their rear raising above the top of the water. This technique is termed "dabbing". This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.Despite its name, the Black Duck is largely brown in colouring. It has a mixture of light brown and cream plumage on the neck, face and stomach. The wings and rear of the duck are a darker brown. Each brown feather is bordered with a cream colour which separates the feathers from each other. The top of the head is also dark brown and there is a darker stripe of black colour horizontally on either side of the eye. The specimen has two brown and black glass eyes and a black bill. The legs and webbed feet are a dark brown and black colour. Tied around the left leg is a paper identification tag. The number 134 is inscribed on the left side of the wooden platform on which the bird is standing. This specimen is stocky.3a. / Australian Wild Duck / See Catalogue, Page 38. /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, australian birds, duck, pacific black duck, grey duck, australian duck

White, four fold, John Brown Industries Limited Official Opening of New Mill by the Minister for Decentralisation The Hon. A. J. Fraser, M. C., M. L. A. on Tuesday, 4th September, 1956. On the inside is the Menu and Toasts and on the back is a green and black coloured aerial perspective of John Brown Industries - Bendigo. The Builders were John D. Booker Constructions Pty. Ltd and the Architects were Stephenson & Turner. Includes two round John Brown Industries Ltd name tags, two invitations to the Official Opening Dance on 4th September, 1956; a Souvenir Programme United Charities Cabaret Ball at John Brown Industries Ltd on 7th Sept., 1956 and a thank you card.document, invitations, john brown industries, john brown industries limited, official opening of new mill, the hon a j fraser m c mla, alec brown, maurice cohen, harry g tredinnick, norman de w robinson, neville s reid, walter j simpson, cr a s craig, cr r poulston, john d booker constructions pty ltd, stephenson & turner, welmar industries proprietary limited

margaret cowley nee doherty, garden week 1931, students working outside, female students, orchard, margaret cowley, margaret doherty

Set of 27 Stamped enamelled round brass pieces with a hole stamped at the top and ring placed through. Used as a SEC tramways employees pass for either all Provincial tramways, Ballarat or Bendigo only. All badges have the SEC logo in the centre, organisational name (State Electricity Commission of Victoria) in white enamel and outer ring the words "Electricity Supply Department, Provincial Tramways", or "Electric Tramways Ballarat" or "Electric Tramways Bendigo". This is in blue enamel. On the rear are stamped numbers and manufacturers name - "AMOR" or "AMOR MELB" or "STOKES & SONS MELBOURNE" in the bottom portion of the pass. Items .1 -> .10, .12, .13 individually tagged. Item .11 not tagged Item .13 -> .27, single tagged, tied together with a length of string. 1941.1 - Bendigo - No. 9 - Stokes - silver background instead of gold, appears to have been used. .2 - Bendigo - No. 43 - Stokes - has been used - partially worn, has additional clip joined to main ring. .3 - Ballarat - No. 51 - Stokes - has been used, worn and chipped under main ring. .4 - Ballarat - No. 61 - Stokes - has been used, worn, and chipped on blue enamel in at least two places. .5 - Ballarat - No. 72 - Stokes - has been used, worn and chipped on blue enamel in many places - btm1941i1 for reverse side. .6 - Ballarat - No. 86 - Stokes - has been used, worn, dirt on rear - see image btm1941i2 for front side. .7 - Bendigo - No. 107 - Stokes - appears not to have been used - see image btm1941i3 for front side .8 - Bendigo - No. 108 - Stokes - ditto, but gold by SEC shield is discoloured - see image btm1941i4. .9 - Bendigo - No. 121 - Stokes - appears to have been used, more silver than 1941.8 .10 - Provincial - No. 124 - AMOR - may have been used - see image 1941i5 for front side .11 - Provincial - No. 156 - AMOR - small clip broken off at top, has been used, worn (Not tagged) .12 - Provincial - No. 306 - AMOR - no larger ring, has been used, worn and discoloured .13 - Provincial - No. 656 - AMOR MELB - has not been used, no larger ring, see image 1941i6 for back side. .14 - Provincial - No. 642 - AMOR MELB - has not been used. .15 - Provincial - No. 644 - ditto .16 - Provincial - No. 645 - ditto .17 - Provincial - No. 646 - ditto .18 - Provincial - No. 647 - ditto .19 - Provincial - No. 648 - ditto .20 - Provincial - No. 649 - ditto .21 - Provincial - No. 650 - ditto .22 - Provincial - No. 651 - ditto .23 - Provincial - No. 652 - ditto .24 - Provincial - No. 653 - ditto .25 - Provincial - No. 654 - ditto - to A. Reither for 21st from BTM 2/8/03 - see attached image btm1941i7 .26 - Provincial - No. 655 - ditto - to P.Mong for 21st from BTM 2/8/03 - see ditto .27 - Provincial - No. 564 - ditto - added 21/1/2007 from somewhere - at WAD's house 12/2006. .28 - Provincial - No. 589 - ditto - dittotramways, trams, employees pass, tickets, provincial tramways, badges

Shirt - green colour cotton fabric with long sleeves, shoulder epaulettes, two front pockets with button down flaps, plastic buttons. Cotton Manufacturers label - green colour with off white cotton label stitched over first label, below collar, both with black print information. Army workdress shirt commonly called "Greens".Green cotton label information - black ink print. "VICTORIA/1980/^ /SIZE 37/81/ 8405, 66, 093,2429/SERVICE NO./ NAME" Off white cotton label information - black ink print with handwritten details: "THIS TAG IS FOR IDENTIFICATION ONLY/ PLEASE REMOVE BEFORE WEARING/ Product No. 80021/5/Order No. 29100320/Size 37-81/Garment No. 20680D/Remarks".uniform, army, workwear

The American Crow is common throughout North America. They reside in areas with open view and trees but can often frequent city parks, suburbs of large cities and along the seashore. The Crow is a robber and therefore, find living in locations which they can raid for food perfect. These birds are sociable animals and are often found in small groups made up of family members. All their lives they reside in the one location; however, they do migrate south during the autumn. They usually find their food by walking along the ground and eat both plant and animal foods. This includes worms, larvae, insects and fruits and nuts. Crows are also known to feed on small rabbits, frogs and mice. They are also identified as nest predators because they feed on eggs. In areas occupied by humans, the Crow will find their food source from trash and also road kill. The American Crow is not considered to be an endangered species and list them on the IUCN Red List as Least Concern. However, large amounts of crows are killed for sporting and during campaigns (having a desire to reduce the population of the Crow in America). This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This American Crow has black plumage which has slightly faded in colour. This colour fading could also indicate that the bird was molting because the feathers of the American Crow appear brownish when the are about to molt and these feathers give way to new glossy black feathers. The specimen has two black glass eyes, a dark bill and dark legs with talons. Both the edges of the bill and the talons are faded into a pale buff colour. It is likely that the legs and talons were painted a dark black by the taxidermist and the paint has either worn off or faded over the years. The bird is standing tall on a wooden mount and looking forwards. It has a paper identification tag attached to the right leg. The tail is short and the feathers are rounded at the ends.153a. / See catalogue page 61taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, america, crow, american crow

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

Long sleeved tangerine coloured ladies’ jumper with a small peaked revere collar and a 6cm long opening, fastened by one small plastic pearl button and woollen loop. Raglan sleeves with a patterned effect on the raglan shaping and a seven cm ribbed cuffs at the wrists. Three cm ribbed band at the waistline. Tangerine V necked long sleeved ladies’ cardigan with five plastic pearl button fastening. Raglan sleeves with a patterned effect on the raglan shaping and seven cm ribbed cuffs at the wrists. Three cm ribbed band at the waistline. Three cm ribbed band around front opening with a patterned effect adjoining the body of the garment. Formerly owned by Margaret (Nell) Timbs nee Heider who worked at Hanro in the Finishing Department about 1935. Donated by her daughter Yvonne Knipe who worked at Hanro in the Office from 1961, then at John Brown until 1968.Tag. Swiss inspired Hanro. SW. Pure Wool. Mothproof. Original label still attached. This is a guaranteed Hanro Hanrosafe garment. It is thoroughly shrinkproof and machine washable. Style 759, Size SW, Colour A39. On reverse of label “This garment has been awarde the coveted WOOL TESTING AUTHORITY’S SEAL OF APPROVAL and is guaranteed shrinkproof and machine washable. Directions for Machine Washing – refer to photograph.

These items were found in the ruins of a house/ hut located along the Clarkesville Road at Bendoc. The donor, David Buntine was stationed in Bendoc in 1969-1971 managing timber harvesting operations for VicForests. The swatches of curtain material are from Edward Arnold & Co Department Store of Oxford and Crown Streets, Sydney. The six tag labels are from Schute, Bell & Co Ltd - Wool & Produce Brokers, Sydney. There is a carbon copy of a receipt from the Shire of Orbost to Mr J. Dent. It is dated 9-10-1915 and is for the amount of 10 shillings. There is a receipt for a gun licence dated, 18-5-1920 and is from Edward Dent for 10 guineas. The invoice / receipt is for men's clothing and cups from Peter Joseph General Storekeeper at Delegate and is dated September 1920. There is an overdue notice to Isaac Dent, Bendoc for a 12 month subscription to "The Bombala Times" - W.G. Tweedie. Isaac Dent was married to Margaret Leslie and had six children - Isaac, James, Mary Ann, Charles, Elsie and Joseph. They made their home at Burrumbooka, near Bombala. The Bombala Times newspaper has been continually published since 1863. It was owned by the Johnson family between 1938 and 1975. These documents are early 20th century records of business transactions. The Dent family were early settlers in the Bendoc / Bombala district.A collection of invoices, receipts, labels and a card of material swatches. 3095.1 is a rectangular card with swatches of material stapled to it. 3095.2 and 3095.3 are rectangular pull apart labels. 3095.4 and 3095..5 are carbon copies of receipts. 3095.7 is an overdue notice. All documents have hand-written and printed information.dent-isaac-bombala edward-arnold-&-co schute-bell-&-co joseph-peter-delegate bombala-times

This jacket, along with the rest of the dress uniform, belonged to an individual named H.E Schulze. It is believed to have been dropped off to the RSL, so no additional information is known. This uniform serves as an example of the military dress worn by the Royal Australian Army (Royal Australian Artillery Regiment) during the late sixties.Khaki jacket featuring two buttoned chest pockets and a belt. A rope cord is draped across and under the right shoulder of the jacket (referred to as a lanyard). There is a single patch (of red and blue colouring) that is located at the top of both sleeves, with an additional patch at the bottom of the left sleeve.Both patches read "ROYAL AUSTRALIAN ARTILLERY". Inside jacket tag reads "E.W. PTY/LTD. / SOUTH AUSTRALIA 1968 / CLASS 8405-66-025-6422 / BATCH 8/68 / MILL AV / SIZE OF CHEST 41/42 PR / MATCHING TROUSERS 39 PR / DRY CLEAN ONLY / CREASE UPPER HALF / OF LAPELS ONLY / NAME: SCHULZE HE / ARMY No. 3164207"lara, rsl, royal australian army, royal australian artillery, war

Kathryn Knitwear, founded by Robert Blake, manufactured high quality children’s knitwear in Melbourne from the 1940s – 1980s. Robert Blake began manufacturing children’s knitwear in his bedroom in Strathmore using a hand powered machine in the late 1940s. The operation moved to Ascot Vale and Essendon, before eventually establishing a factory in Moonee Ponds in the early 1950s. The business continued to expand, necessitating a move to a new factory in Broadmeadows. By 1962, the Broadmeadows factory was producing an average of 20,000 garments per month, which increased to 24,000 by 1964. Robert Blake’s Son, Brendan recalls that “The Kathryn brand was famous around Australia, anywhere children needed to keep warm and dress smartly. It also won a number of wool fashion awards”, including the 1969 Wool Awards, which was held by the Australian Wool Bureau and published in Women’s Weekly. The Kathryn range was designed for durability, comfort and care, without sacrificing style. They used patterning techniques that increase stretchiness, comfort and fit, as well as integrating decorative elements into the fabric to prevent them from being bulky, uncomfortable or tight. Making longevity of style a priority, Brendan Blake remembers that “there was one particular garment that was in the range for at least thirty years”. He also recalls “In the past, when women have found out that I was associated with Kathryn Knitwear, they would often relate to me the story of a garment they had purchased or received as a gift and, when their child had grown out of it, they would hand it on to another child. Several ladies have told me of purchasing garments for their daughters’ glory box, or saving a particular garment after their daughter had grown out of it. Brendan Blake: “At the peak of their operation they employed approximately two hundred people, mainly women and girls. A family would often seek to send their daughter to work in this company because they knew they would be looked after and safe. One lady wrote to me telling me that working at the Moonee Ponds Factory prior to getting married was the happiest time of her life.” In 1963, workers at the Kathryn factory earned £13 per week, which was 8 shillings and 8 pence higher than the minimum weekly wage for female workers in the textile manufacturing industry (£12 11s 4d). By 1970, the Kathryn Knitwear brand expanded from children’s knitwear into womenswear under the brand name ‘Lady Kathryn’, and for boys and men under ‘Robert Blake’. Continuing to diversify their distribution, they also began exporting ‘Kathryn’ garments to New Zealand, the Pacific Islands, and Japan. ‘Kathryn Knitwear’ was well-known for their early adoption of modern materials and techniques that had broad appeal to their customer base. This is shown in their early use of the acrylic fibre ‘Orlon’ in the 50s and 60s and ‘Superwash’ wool in the 1970s. Many of Kathryn Knitwear’s styles, particularly those that were long running staples of the brand, were available in both wool and Orlon to suit the consumer’s preference. Orlon was developed by DuPont in the 1940s and became the first commercially successful acrylic fibre in the 1950s and 1960s. The development of Orlon coincided with an increase in availability of washing machines in everyday Australian homes. The great appeal of Orlon was that while wool garments still had to be hand-washed, Orlon’s shrink-resistant nature made it machine washable and dryable. This was a very appealing prospect, especially for the seemingly unending task of cleaning active children’s clothing. Machine washable wool would not be available until the development of the ‘Superwash’ treatment by the Australian Wool Board and CSIRO in 1970. Far from the humble origins of one man in his bedroom with a hand-cranked machine; at its closure in 1980, the Broadmeadows factory of ‘Kathryn’ housed more than 100 machines, including 53 sewing machines and 45 knitting machines. Robert Blake was “a passionate advocate for wool and Australian Made” throughout his whole life. A strong thread that ties through the lifespan of Robert Blake and Kathryn Knitwear is a balance between adopting new innovations without sacrificing the core values of durability, comfort, care and style that had made the brand so well known. Their legacy forms an integral part of both Australian social and manufacturing history.Children’s two-piece outfit set, consisting of a top and leggings. Knitted in colour blocks of navy, red and white. Top has ribbed navy bodice section with white stripe separating red skirt and closes at back neck with two navy plastic buttons. Leggings are primarily red, with a white stripe at the ankle and navy-blue feet. Leggings are constructed primarily as one piece and seamed up at centre back and inseam, with additional gusset piece..1) [tag stitched into back neck of top] KATHRYN REGD 100% ACRYLIC FIBRE SIZE 0 WEIGHT 10 LENGTH 76 MADE IN AUSTRALIA .3) [blue sample label] STYLE 574/ Pop Top and B’tts S.26. Acrylic. SIZES: 00 0 PRICE: $8.95 COLORS: Navy/Wht/Red Red/Wht/Navy P.Blue/Wht/Navy Dec on Del.knitwear, clothing, children's knitwear, children's clothing, manufacturing, fashion textile production, machine knitting, clothing set

Slacks - garment is part of a Women's Service Dress uniform. Possibly issued to "BALAAM", Service No. "F380519" Refer also Cat No. 9616.1. Slacks - dark green colour wool and polyester, full length slacks with belt loops. Front nylon zipper fly, brown colour plastic button at waist - no pockets. Manufacturers labels - two, inside back of waistband, exterior back of waistband - (to be removed when worn). White colour polyester fabric. 2. Belt - fabric as above with keeper and metal press stud closer.Manufacturers label - black ink print. Inside back "A.G.C.F. VICTORIA 1980 ^/ 8410-66-096-5182 size 10, AVE HGT/ FULL HIP/ WAIST 60 CM HIP 90 CM" Garment care instructions under headings "HAND WASH, MACHINE WASH IRONING", Followed by "NAME/ Service No.". Outside back "THE TAG IS FOR IDENTIFICATION ONLY/ PLEASE REMOVE BEFORE WEARING" with printed and handwritten information.uniform, womens trousers, army, balaam, passchendaele barracks trust

This is the seat from the aeroplane of Basil Watson. Photographs held by the Warrnambool and District Historical Society confirm that this was Watson’s aeroplane seat. He was a pioneer aviator who had built his own plane which was 5.5 metres long with a wingspan of 8 metres. It had a 7-cylinder 50 HP rotary Gnome engine. Basil Watson flew this aircraft to Warrnambool in January 1917, becoming the first person to fly to Warrnambool, coming from Point Cook in one hour 55 minutes – an Australian cross-country flying record at that time. Watson amazed Warrnambool crowds with his dare-devil flying, looping the loop 14 times over the Warrnambool racecourse. He also brought with him the first aerial post to arrive in Warrnambool and the Warrnambool and District Historical Society has the letter he brought written by the Lord Mayor of Melbourne to the Mayor of Warrnambool. Two months after he was in Warrnambool Basil Watson was killed when his plane crashed near Point Cook in March 1917. Parts of the plane were salvaged and the seat was donated to the old Warrnambool Museum in 1918. It remained there until the museum was dismantled in the early 1960s and it was later passed over to the Warrnambool and District Historical Society. The tag on the seat today is an old Warrnambool Museum label. This is a most significant item as it is the original seat from the aeroplane of Basil Watson, an important early aviator in Australia’s history and it is also an early 20th century memento of the many treasures from the old Warrnambool Museum (1883-1963). The seat shows the primitive nature of early 20th century aeroplanes in Australia. This is a metal (galvanized iron) seat with a semi-circular base and a curved back stretching around from one end of the base to the other end. The back has a rolled metal edging on the base and the top. On the sides are two slots with a khaki-coloured cloth strap passing through the slots. This strap has a metal buckle at the end. The metal in the seat is somewhat blotched and discoloured. A luggage label is tied to one of the slots and has a name typed on it.Mr Watsonbasil watson, aviator, old warrnambool museum, history of warrnambool

This shirt is part of a General Purpose Uniform issued by the Australian Airforce to Bernard Farley during service. This uniform type was developed in 2014 and replaced camouflage as the uniform worn during general base duties and in non-warlike environments. Although a camouflage pattern, this design is not intended for use as camouflage. This item has social significance, as an item of uniform worn by Warrnambool RSL community member and Secretary (2019), Bernard Farley during service with the Australian Airforce. The item is a representative example of current Airforce General Purpose Uniform and is in excellent condition. As a set, the uniform has aesthetic significance in it’s design, incorporating GPU uniform design from the Army alongside the colours and motifs of the Australian Airforce. General Purpose Uniform (GPU) shirt in Airforce colours of blue and grey in camouflage pattern. Long sleeve with 6 buttons up the front, two chest pockets with zippered verticle openings along the button seam; two button down pockets on both the left and right shoulder with velcro patches sewn to outside flap for attachment of patches. Above the chest pockets are two patches with embroidered inscriptions in white thread on navy backing. Shirt cuffs have adjustable velcro fasteners.Inscription on interior label is worn and illegible, halfway down the tag reads “PM KEYS NO.” Throughout (on shoulder seams, above left pocket and on back of collar) is the Australian Airforce badge/motif which features a circle with the words ‘Royal Australian Air Force', the Imperial Crown, and a Wedge-Tailed Eagle in flight though this detail is inferred not physically visible. Two embroidered patches above the chest pockets read “AIR FORCE” and “FARLEY.”camouflage, general purpose uniform, airforce, uniform, australian defence force

Gareth SAMSOM (19 November 1939- ) Born Melbourne Sansom describes a desire to constantly surprise and challenge himself as an artist. He had his first exhibition in 1959. His paintings of the 1960s were characterised by a distorted use of line, shape and colour and were influenced by abstract expressionism, Francis Bacon and Sidney Nolan. Over time, his work has also drawn on punk, dada, Basquiat, T.S. Eliot, urban graffiti, classical Greek philosophy and art theory across a variety of media ranging from drawing, printmaking and collage to photomontage and photography. Sansom lectured in Art at the Ballarat Teachers' college, and was appointed Head of Painting at the Victorian College of the Arts from 1977-1985, and Dean School of Art at the Victorian College of the Arts from 1986-1991. He was artist-in-residence at the University of Melbourne in 1985, which was when he resumed his full-time painting practice with a series of large works on canvas. The Federation University Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.'Looking for God in Abstract Art 2' is a play on the debate over the respective virtues of abstraction and figuration that has preoccupied artists and critics for more than a century. Sanson has always walked a wobbly line between the two, adroitly avoiding falling headlong into either camp. It is also a gentle dig at the pretensions to higher spiritual meaning in abstract art. In the centre are two photographs, one of rubber masks and the other of the artist in a lurid fright wig and mask and using a spray can like a young tagger. These images, where the artist wears a mask and teeters on bright red platforms, are wonderfully ludicrous send-ups of the 'fine art' of painting. (Geoff Wallis from 'Gareth Sansom: Alternative Person", Art Gallery of Ballarat, 2012) This work was exhibited and published in the catalogue of the exhibition 'Gareth Sansom: Alternative Person' at the Art Gallery of Ballarat in 2012 item. art, artwork, gareth sansom, sansom, mixed media, oils, enamel, photo-collage

Before metrication was introduced into Australia in the 1970s land was measured in chains and links. Many old parish plans show length measurements in chains and links. Area was shown in acres, roods and perches. Gunter's chain was used for measuring distance in surveying. It was designed and introduced in 1620 by English clergyman and mathematician Edmund Gunter (1581–1626). Gunter developed the measuring chain of 100 links. The chain and the link, became statutory measures in England and subsequently the British Empire. After metrication units of length were measured in meters and area in hectares. The chain was later superseded by steel ribbon tape.The 66-foot long (1 chain) Gunter's Chain was a fundamental instrument for land surveying. It is divided into 100 links (each 7.92 inches long) which are marked off into groups of 10 by brass tags with 'fingers' to indicate 10, 20, 30, 40 and 50 links from the hand grips, thus simplifying intermediate measurements. Each end of the chain is fitted with a brass hand grip. It was heavy and sturdy enough to be dragged through the bush and over rough terrain on surveying transects. Giving rise to the common forestry term "chainman" for the person tasked with dragging it. 1 chain = 100 links = 22 yards = 66 feet = 792 inches = 4 rods, poles or perches. 10 chains = 1 furlong 80 chains = 1 mile 1 acre = 10 square chains = 4 roods = 160 square rods, poles or perches.forest measurement, surveying, forests commission victoria (fcv)

William Balfour Ker was a Canadian-American artist. He was also a declared socialist, and his political stance was often reflected in his art. This lithograph is a compelling illustration of the race against time sometimes faced by doctors when trying to get to a patient to assist in birth before the baby is born.A black and white lithograph. At top right, a stork is flying through the air, with a baby bundled in a cloth that it is holding in its beak. To the left, a horse drawn buggy follows rapidly behind, with the driver wielding a whip and urging on a speeding white horse. The artist's signature printed at bottom right corner of image reads 'WM.BALFOUR-KER'. The lithograph has been mounted and framed in wooden frame. The outer edge of the frame is black, and the inner edge is gold. On the back of the object, a small piece of paper bearing the title of the lithograph has been attached at bottom centre. It reads 'A HURRY CALL, THE DOCTOR v THE STORK'. A second tag attached to the back of the work reads 'From FF', suggesting the donor of this object was Frank Forster. An old display label is attached to the bottom left of the back of the work. A wire and two hooks have been attached to the back of the frame for hanging.obstetric delivery

The St Brigid statue was presented to the church by Fr Kerin in 1915. "CROSSLEY. (From Our Correspondent). At the Crossley hall, on Thursday evening last, a meeting was held for the purpose of forming a Catholic Debating Society. There was a splendid attendance, Rev Fathers Kerin and Phelan being present, both of whom explained the advan tages to be gained by such a society. After the matter had been dis cussed, it was unanimously de cided to form a Crossley Debating Society, the election of officers re sulting as follows-President, Rev Father Phelan ; secretary, Mr S. Shanley ; assistant secretary, Mr P. Farley ; vice-presidents, Messrs L. Dwyer and P. Wall; treasurer, Mr D. Lane ; auditors, Messrs F. Shanley and M. Foley ; press correspondent, Mr P. Crowe. A com mittee of 12 was elected, and a sub committee was appointed to draft rules governing the society. It was decided to hold meetings fortnightly, Friday evenings being the choice for meetings. Immediately before 11 o'clock Mass at St. Brigid's R.C. Church, Crossley, on Sunday last, the Rev Father Kerin blesssed und unveiled a beautiful life-size statue of St. Brigid. The rev gentleman, in a lengthy discourse, dwelt on the life of piety led by the saint. He expressed a wish that in passing by the statue it would be a reminder to them that their church and school were dedicated to this saint. {Port Fair Gazette, 19 April 1915.}Colour photograph of a papier mache statue of St Brigid, photographed at St Brigid's Crossley.st brigid statue, st brigid's crossley, d'aprato statue co., st brigid

Double-Breasted lined jacket with 'wing' lapels. Left and Right pockets with cover flaps. Colour; Dark Navy. Petty Officer Badge (slightly faded) near shoulder of left sleeve.All Buttons Metal. Buttons Reverse; Stokes and Sons Melb. 6 Buttons on front; 23mm diameter. 2 Buttons on each sleeve cuff; 15mm diameter. All buttons show Crown and Anchor with 'Australia' beneath. Inside; 1 pocket on right side. 2 pockets on left side (i pocket small 'coin' or 'pocket watch' size). Inside neck; original fabric tag covered by 'Band-Aid ' sticker with the words 'G' or 'E' Cole per 13 Heeds'.

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

Metal branding hammers were the most common way to control the sale and movement of hardwood timber produce like logs, railway sleepers, fence posts, and poles from Victorian State forests. Royalty was also paid on this basis. The hammer has a crown stamp on one end with a unique number in the middle (453) which identified its owner, and a crows foot or broad arrow on the other. The broad arrow was a symbol traditionally used in Britain and its colonies to mark government property. Forest regulations state that an authorised officer may use the crown mark to identify produce which has been sold and may be removed from the forest, whereas the broad arrow can be used to brand and mark trees which are not to be felled, or to indicate forest produce which has been seized. Hammers were traditionally only ever issued to forest officers and were an important, and closely guarded tool-of-trade. They were not transferred between staff and lending hammers was not permitted. But it was an onerous task for staff to hammer and tally hundreds of logs, or thousands of fence posts each week, so in about 1990 a system was introduced whereby hammers were allocated to logging contractors to grade logs and tally them instead. But there was still spot checking by authorised officers. A register was kept, and contractors paid a substantial deposit to make sure they didn't lose them, but they occasionally turn up by fossickers with metal detectors. While branding hammers are still used in some smaller locations, plastic tags and barcodes are now more common.Metal log branding hammer with a crown stamp on one end with a unique number (453) in the middle which identified its owner, and a crows foot or broad arrow on the other. The unusual bent metal handle was designed to protect user from banging their fingers on the log. It was also fitted with a rubber hand grip. Most FCV branding hammers were issued with wooden handles. The branding hammer 453 was initially issued to Wally Cowell at Beechworth. It was reissued to Jim Browning upon Wally’s retirement The hammer still had a wooden handle, but the it broke and became loose inside hammer head. Russel Pritchard from the Beechworth Depot replaced the handle with a new metal one and put a dog leg in it It mainly branded forest produce cut in Mt. Pilot and Reedy Creek areas. The main logging contractors were Gordon Habeck from Chiltern and Steven Goldsworthy from BeechworthCrown mark one end (453) and Crows foot other endforest harvesting, forests commission victoria (fcv)

Uniform issued to "P. Green" No. 32045731. Jacket, Khaki colour wool serge fabric. Battle Dress style, belted at the waist with metal buckle. Dark green plastic buttons. Collar, shoulder epaulettes, two front pockets with concealed button down flap, sleeve cuffs. Green colour cotton twill fabric lining to waistband. Manufacturers white cotton fabric label - left pocket lining. Removeable tag on inside collar. 2. Trousers, khaki colour wool serge fabric. Battle Dress style with fob pocket, two side pockets, one back pocket with concealed button down flap. Dark green plastic buttons, metal zipper fly. Manufacturers white cotton fabric label - back pocket lining. Green colour polyester lining. 3. Shirt, Khaki colour cotton/polyester long sleeves, with shoulder epaulettes and cream plastic buttons. Two front pockets with button down flaps. Manufacturers white cotton fabric label inside back below collar.Manufacturers information on labels - black ink print. 1. "ADI P/L/ VICTORIA/ 1990/ ^ / 8405-66-025- 6418/BATCH P/ SIZE 102/104L/ ARMY NO./ NAME/DRY CLEAN ONLY/ CREASE UPPER/ HALF OF LAPELS ONLY" 2. "ADI P/L/ SUB-4 VIC 1990/ ^ / 8405-66-025-6183/ BATCH S/ SIZE 84R W.84/ DRY CLEAN ONLY/ RE-PRESS ON ORIGINAL/CREASES SET BY/ SI-RO SET/ MENDING PATCH ATTACHED/ ARMY NO/ NAME" 3. " A.G.C.F./ 1988/ ^/ SIZE 40/84/ 8405-66-088-7098/ SERVICE NO./ NAME/ DO NOT BOIL OR WRING/ MACHINE WASHABLE/ DRIP DRY/ IRON LIGHTLY/ WITH WARM IRON" Handwritten - blue ink pen "3204573/Green" uniform, army, battle dress, p. green

An assortment of ephemera in a plastic bag. (I) A handwritten list of concert items relating to W.W.I. (II) A Christmas gift card sent to the Pethard family. (III) Pte. W.H. Pethard A.I.F. Name tag. (IV) Lucerne post card with an unknown family message. (V) 2 empty envelopes. One has been sent from the front to Miss Lydia Pethard and has a censor stamp on it. (VI) A small cream sports meeting programme for the 2nd Aust. Inf. Brigade dated 11-6-17. (VII) A small map of Bendigo for attendees of the Independent Order of Rackabites Annual Conference held in Bendigo on March 13th to 16th, 1916. (VIII) An airgraph letter sent to Mrs. L. Chancellor from Wilf. Leech, RAAF Base, London 1944 thanking her for a hamper she sent him - through the ACF -the Australian Comforts Fund . (IX) An empty book titled 'Golden Square Methodist Girls Guild.' (X) A small brown 'Cole's Pocket Spelling Guide.'lydia chancellor, collection, ephemera, world war 1, entertainment, concert, music, australian infantry force, lucurne, post card, correspondence, communication, australian infantry brigade sports programme, independent order of rackebites, map, bendigo, airgraph, hamper, world war ii, australian comforts fund, spelling guide, education

Porcelain figurine of a woman holding a baby. The woman is wearing a blue dress, with a blue floral pattern, underneath a white medical coat. She has blonde hair which is tied loosely behind her, and white slip on shoes. She is holding the baby in front of her chest, with the baby's back leaning against her left forearm and the baby's head cradled in her left hand. Her right hand is supporting the baby from beneath. The baby is loosely wrapped in a white blanket, with its torso visible. The woman is standing next to a small table which supports a set of baby weighing scales and a bottle of talc next to the scales. A cloth trails down from the table to the floor. There is a manufacturing mark on the back of the base of the statue. The top row of text is obscured, but the remaining test on the mark reads 'porcellane/PRINCIPE/MADE IN ITALY'. A small Certificate of Origin tag is attached to the weighing scales by a small, thin cord. Sticker underneath the base of the statue reads 'BELLINI/PONTE VECCHIO/FIRENZE'.