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. 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.Black and white photograph of two children. The boy on the left wears a dark short sleeve polo shirt and holds a magnifying glass up to his eye while biting his lip. The inscription on the reverse indicates that his shirt is navy blue and has metal buttons. The girl on the right wears a pale crew neck shirt and cardigan with long sleeves and a tartan skirt. She has a picture book in her lap and is holding her hand up to her mouth. The inscription indicates that her shirt and cardigan are a matching pink set. The back of the image has a slip of typewritten paper taped onto it that features the proposed marketing inscription. The name and address of the marketing firm is stamped to the bottom right of the reverse, and a reference rumber (M582-1) is written in greylead below it[reverse] Well worth inspecting! A trio of Kathryn’s ‘BRI-NYLON’ garments, made from a fabric that is soft, springy. Does not pull and has an attractive lustre, They young man wears a navy blue shirt with collar, short raglan sleeves, and metal button trim at the neckline. They young lady wear a pink crew neck pullover with short raglan sleeves topped by a matching button through cardigan with long raglan sleeves. Retail price of the 3 garments vary according to size, from approx. £1.9.6 to approx. £3 gns. Sizes range from 22” to 34”, and colours include pale blue, lemon, white, acqua and botany blue. DAVID FRANKLIN ASSOCIATES PTY. LTD. 16 GEORGE PARADE, MELBOURNE. 63-2141 [handwritten] M582-1business, business history, manufacturing, knitting machine, fashion textile production, business archives, manufacturing documents, textile industry - history wool marketing, wool marketing fashion textile industry, children's knitwear, children's clothing, knitwear marketing

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. 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.Black and white photograph of two children. The boy on the right wears a dark short sleeve polo shirt. The inscription on the reverse indicates that his shirt is navy blue and has metal buttons. The girl on the left wears a pale crew neck shirt and cardigan with long sleeves and a pair of checked trousers. The inscription indicates that her shirt and cardigan are a matching pink set. The children have their heads resting together and smile looking toward the left of the picture. The back of the image has a slip of typewritten paper taped onto it that features the proposed marketing inscription. The name and address of the marketing firm is stamped to the bottom right of the reverse, and a reference rumber (M582-13) is written in greylead below it[reverse] Worth smiling about! A trio of Kathryn’s ‘BRI-NYLON’ garments, made from a fabric that is soft, springy. Does not pull and has an attractive lustre, They young man wears a navy blue shirt with collar, short raglan sleeves, and metal button trim at the neckline. They young lady wear a pink crew neck pullover with short raglan sleeves topped by a matching button through cardigan with long raglan sleeves. Retail price of the 3 garments vary according to size, from approx. £1.9.6 to approx. £3 gns. Sizes range from 22” to 34”, and colours include pale blue, lemon, white, acqua and botany blue. DAVID FRANKLIN ASSOCIATES PTY. LTD. 16 GEORGE PARADE, MELBOURNE. 63-2141 [handwritten] M582-13business, business history, manufacturing, knitting machine, fashion textile production, business archives, manufacturing documents, textile industry - history wool marketing, wool marketing fashion textile industry, children's knitwear, children's clothing, knitwear marketing

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. 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.Black and white photograph of two children wearing geometric-print jumpers, walking arm-in-arm and holding soft-drink bottles with straws. The figure on left has long dark hair and a fringe, and wears a turtleneck jumper with a geometric Nordic pattern of diamonds, with a pale ground colour and darker accent colours, with checked trousers and white boots. The figure on the right has short dark hair and wears a jumper with a dark body and turtleneck collar and a pale yoke with contrasting geometric zig-zag patterns, as well as tartan trousers and shiny dark oxford shoes.[reverse] COPYRIGHT HERALD-SUN PHOTOGRAPH SUPPLIED BY FEATURE SERVICES THE HERALD & WEEKLY TIMES LTD. MELBOURNE AUSTRALIAbusiness, business history, manufacturing, knitting machine, fashion textile production, business archives, manufacturing documents, textile industry - history wool marketing, wool marketing fashion textile industry, children's knitwear, children's clothing, knitwear marketing

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. 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.Typewritten letter in black ink on cream paper with green and black letterhead of ‘Commonwealth Serum Laboratories’, marketing influenza vaccines to businesses for their employees.COMMONWEALTH SERUM LABORATORIES 45 POPLAR ROAD, PARKVILLE, N.2. VICTORIA, AUSTRALIA TELEGRAPHIC ADDRESS ‘SERUMS’ MELBOURNE / TELEPHONE 38-2101 (5 LINES), 38-5136 (5 LINES) ADDRESS CORRESPONDENCE TO DIRECTOR IN REPLY PLEASE QUOTE 63/909 Dear Sir, INFLUENZA VIRUS VACCINE Each year more and more business houses are organising immunisation campaigns against influenza for their staff. This, we feel is a wise precaution as influenza is not selective and absenteeism amongst your work force because of influenza could seriously hinder the operations of your company. To combat epidemic influenza, C.S.L. have produced Influenza Virus Vaccine (Polyvalent) which is effective against the types and strains of influenza virus which are likely to cause the disease this winter. We believe that immunization against influenza should be carried out between February and April (before the onset of winter) and suggest that you discuss the matter with your Medical Officer as soon as possible so that he can advise you on the needs of your organization. Ordering: Having decided on your influenza vaccine requirements, it is then only necessary to place your order, quoting your doctor’s name, by simply contacting the C.S.L. State Sales Branch in your capital city. Yours faithfully, COMMONWEALTH SERUM LABORATORIES. P.S. We have supplies of attractive coloured notice board posters inviting the staff to support the campaign arranged for their benefit. Should you decide on a campaign, these posters are available on request from the C.S.L. State Sales Branch in your capital city, or if you have any difficulty, direct from us at Parkville.business, business history, manufacturing, knitting machine, fashion textile production, business archives, manufacturing documents, vaccination, flu vaccination, public health, public health history, epidemiology, influenza, vaccination history

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. 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.Tables outlining the production quantities for each colour and size of a given style for the Winter 1962 seasonbusiness, business history, manufacturing, knitting machine, fashion textile production, business archives, manufacturing documents

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. 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.Price list booklet for Winter 1964. Booklet was housed inside yellow manila envelope printed in black and red ink with the Kathryn Logo and contact details. The booklet contains tables, printed in blue ink, that outline the price for each style and size available, as well as providing the available colours. Annotations are made in red pen ink. A sheet of yellow paper has been included in the front of the booklet that includes all the shades available in Orlon, Viyella and Wool.[internal] SHADES – WINTER 1964 [LEFT COLUMN] ORLON WHITE PINK LEMON BALE BLUE OATMEAL SULTRY GREEN NUTTY BROWN PINE GREEN REDCOAT BOTANY BLUE SKY BLUE VIYELLA WHITE PINK LEMON PALE BLUE [RIGHT COLUMN] WOOL. SKY BLUE PINK LEMON PALE BLUE WILD OAT SULTRY GREEN NUTTY BROWN NED KELLY GREEN REDCOAT BOTANY BLUE CHESTNUT PARCHMENT PIONEER GREEN MAZURKAH KATHRYN AND VIYELLA/KATHRYN SHOW CARDS AVAILABLE ON REQUEST.business, business history, manufacturing, knitting machine, fashion textile production, business archives, manufacturing documents

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. 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.Letter from Myer (Melbourne) Limited to William Blake. The letter confirms and details of a meeting held to discuss business arrangements between Kathryn Knitwear and Myer. Due to the lack of signatory, it is likely there was originally additional pages that have been lost. It is typewritten in blue ink on white paper, with smudges and pen marks evident.MYER (MELBOURNE) LIMITED. 314-336 Bourke Street, Melbourne C.1. 66 111 July 10, 1967 Mr. William Blake Kathryn Knitwear. P.O. Box 49. BROADMEADOWS Vic. Dear Mr. Blake. This is to confirm and itemize details of the discussion held in my office on Monday, July 10, at which time the following points were discussed: - 1. Action to be taken on:- (a) Regular Kathryn range. (b) Special lines to be developed under the Kathryn label confined to Myers stores. These to fit into the regular Kathryn price fields. (c) Special price lines to be developed exclusively for Myers stores, also that for these price lines the regular Kathryn quality to be maintained. With regard to Items A and B of the above, it was decided that purchases were to be taken out by departments on regular Kathryn merchandise for the financial year August 1, 1966 to July 31, 1967, and targets were to be set for each department for the same period for 1967-1968. 2. Specific items were to be nominated that are to be made under Item 1(b), eg: angoras, knits, dresses, etc. these items to be quickly collated by Mr C. Rivers.business, business history, manufacturing, knitting machine, fashion textile production, business archives, manufacturing documents, myer, myer emporium, myer (melbourne)

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. 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.Copy of Series I, Volume 4 of the magazine of the Consumer Benefits Association ‘the Australian Consumer’, dated 1972. Page 12 features a full-page advertisement for both the collegewear and children’s Kathryn Knitwear lines. The outfit in the top right image is similar to NWM-08913 Photos on the bottom are from the same photoshoot, photo on left is same model as NWM-09029, NWM-09031, NWM-09037. Photo on right is same model as NWM-09032 On the opposite page is an article discussing the ‘school uniform scandal’ that argues that problems are caused by an inefficient ordering and supply system, and proposes a system that it claims will reduce costs for both manufacturer and parents, while still allowing schools to specify uniform requirements.[obverse] THE AUSTRALIAN CONSUMER SERIES I, VOL. 4 Official voice of CBA [internal, page 12] Childrens Knitwear of Quality KATHRYN and Collegewear MANUFACTURED IN AUSTRALIA BY ROBERT BLAKE PTY. LTD. 26-32 KING WILLIAM STREET, BROADMEADOWS 3049 VIC PHONE 309 1333 [internal page 13] ANSWER TO SCHOOL UNIFORM SCANDALbusiness, business history, manufacturing, knitting machine, fashion textile production, business archives, manufacturing documents, consumer affairs, school uniform, advertising

Yields information about the track maintenance activities of the track gang in Ballarat, the work they did, notes, names and other information.Collins Australian Diary, 1960, No. 324 printed by Collins Bros, pattered dark red cover with green cloth binding on cover, card covers, sewn sections with ruled sheets providing a diary for 1960, one week per double page. Has "useful information" sheets at from the diary. Used by the SEC Ballarat track gang to record their daily work, leave, welding, track cleaning, truck driver etc Rear pages - has notes on materials used, costs, scrubber use and hours, and length of track On the2nd last page is a list of Track gang and addresses for 1960. H. Dowie S. Eaton W. Newell E. Lakey J. Armstrong J. Naus - welder C. Edwards A. W. Cunningham H. Lancaster H. Smith G. McQuinn E. Fish W. Holder L. Marks D. Wiseman - welder Cash account sheets for April - September - weekly hours of workers. Loose contents 1. - by rates of postage sheet - notes on work on rear of time sheets 2 - by rain chart - application for leave form 3 - by engagements - for July - part of a 1960 income tax return form - with some calculations on it. 4 - 19/12/1960 - notes re work 5 - Memoranda sheet - notes on pink time sheet - re work requirements? 6 - Inside rear cover - a sheet with names and SEC leave due notes. tram, trams, sec, ballarat, depot, trackwork, rails, scrubber tram

Yields information about the track maintenance activities of the track gang in Ballarat, the work they did, notes, names and other information.Collins Australian Diary, No. 324 printed by Collins Bros, dark red card covers, sewn sections with ruled sheets providing a diary for 1964, one week per double page. Has "useful information" sheets at from the diary. Used by the SEC Ballarat track gang to record their daily work, leave, welding, track cleaning, truck driver etc In the Memoranda section (page 3 and 4), list of names and addresses of track gang and notes on materials used, costs, scrubber use and hours, and length of track. Lancaster Wiseman Lakey Edwards Fish Dowie Marks Smith Bartlett W. Gladman R. J. Gladman Loose contents 1. 27/12/64 - Handwritten notes (2) re work to be done and leave 2. - Memoranda - handwritten note on rear of weekly time sheet - note re materials and leave times for gang. 3 - Inside rear cover - Note from the Accounts department dated 9/8/1963 re account numbers to used by the truck driver - note re D. Wiseman - Long Service leave - workshop requisition and note - re work at B power station - repairs to road - workshop requisition to dig trenches in Main St - note re work on the back of a letter from the Shell Sou'wester service station re the availability of touring maps.tram, trams, sec, ballarat, depot, trackwork, rails, scrubber tram

Yields information about the track maintenance activities of the track gang in Ballarat, the work they did, notes, names and other information.Collins Australian Diary, No. 324 printed by Collins Bros, dark red card covers, sewn sections with ruled sheets providing a diary for 1965, one week per double page. Has "useful information" sheets at from the diary. Used by the SEC Ballarat track gang to record their daily work, leave, welding, track cleaning, truck driver etc In the Memoranda section (last page) gives names and leave due and work arrangements for those without leave during the Christmas - Jan. period. Lancaster Wiseman Lakey Edwards Fish Dowie Smith Batty Cooper Butcher Loose contents 1. Important dates- part of a very fragile sheet of paper - account numbers for various jobs. 2 - 19/12/1965 - part of the cover "The Society Courier - June 1960 - a SEC Social League newsletter" and part of a desk calendar for 10/12/1963, with hours worked on particular jobs and account numbers. 3 - last sheet of Memoranda - on the back of a sheet of Regulations and Acts (SEC manual) - handwritten notes regarding leave entitlements 4 - inside rear cover - sheet showing gang names, with additions/cross outs including a note that H. Dowie passed away on 9/12/1965. Other names not in above list: J.Whatmore W.Hicky? P.Cartledge W.D.Strange C.Kingston? B.Sarah G.Cooper J.Butcher Coombs David Coon tram, trams, sec, ballarat, depot, trackwork, rails, scrubber tram

Elaine Mann was married to David Mann, a successful Wodonga businessman and community leader who passed away in Wodonga in June 2012. David was a member of the Mann family who began their business in Wodonga in 1920. Elaine was a teacher in Wodonga for many years and an active member of the community.This photo collection is of significance as it documents how the businesses and buildings in Wodonga have evolved and contributed to community throughout the late 20th century.This building was erected in the 1890's. It was originally the premises of the Federal Coach Factory, then Buntz's Garage, and became Mylon's Garage. July 1960 saw it open as Wodonga Market. An article in Wodonga and District Express dated 1 July 1960 announced: “Wodonga’s New Market Open Today” Arcade Style Shopping "Wodonga’s new market will be open as from morning trade today. Modelled on current overseas open marketing ideas, the new business is similar to the Albury Market in David Street. The Manager (Mr. Ned Day) said yesterday that shops and stalls were sub-let to tenants for a “co-operative rent” which enabled the market to pass these advantages on to the people in lower prices. The building would lend itself to the arcade style which made attractive presentation and would also assist the customer to make quick purchases. There was over 5000 square feet of shopping space.” Businesses open that day were Gerecke’s with a display of secondhand furniture and fittings, and a poultry mart to open the following Friday. Also Webster’s Fruit and Vegetables. Mr. Ned Day advertised space for a variety of listed business types. Businesses recognised in the photo include a Butcher, Webster's Fruit & Vegies, Bill Dunstan's Boat Centre. Snack Bar/Fish & Chips/Milk Bar Auction Mart, New & Used Furniture. Poultry was also available every Friday. The building was demolished in 1963.wodonga businesses, high st wodonga, wodonga market, auction mart

Main Street Shops Anglican Church to Upper Main Street - 1998Anglican Church , Tubs Video Shop, BRACE Employment Services Pykes Cycles and Sports, Site of R.J. McClure garage, Stawell Town Hall, Methodist Chruch Wesley Centre, Tonkin Motors Holden dealership, Stawell Taxis, Ivan McDonald hairdresser, Holmes Fruiter, Pamala's Hairdresser, Bakery, Stawell Post Office, Fish and Chip Shop, Denis Weily Chemist, Gold Reef Clothing, Overalls Furniture, Commonwealth Bank (State Bank), Stawell Tattslotto, W.P Computers, Pioneer Walk 4 Photos, Site of Max Holme Butcher, Hardings Mensland, Coles/ Fosseys both buildings, George Wilkinson Dentist, Betta Electrics, Gold Reef photgraphics, General Office of N.G.S.C. Classic Shoes, Old Commonwealth Bank, Stawell Club, Cafe Rasuli, Albion Hotel Then Retravision, Fountain, Newton Bros Buther 3 Photos 2 fron one rear, A.N.Z. Bank two views, Stawell Dry Cleaners, Fuller's Insurane Brokers, Reg Seng Pha Solicitor 2 views 1 B/W, Grampian China Art, Clarks Furniture, Unkonown 2 views, Commercial Hotel, O,Driscoll Solicitors, Auto Pro, Chinese Medicine, Westfarmers Dalgety Real Estate, Monaghan's Real Estate, BRACE Employment Services, James Monaghan Solicitor, Stawell Electronics, Old Ambulance Station.stawell

Series of 7 black and white photographs of the traffic congestion in the CBD during 1951. .1 - Flinders St from Flinders St Station office looking northwest with a W2 317 Richmond route 28 and many cars. Has "32" on rear in pencil. Has Snows and the SEC building in the view. .2 - Spencer St bridge, looking north with Fish Market/Cool Stores and the VR Head Office in the view. Has Taylor and ? General Carriers and Nestle's truck in the view. .3 - William St? with passengers waiting at a safety zone - has the Dennys Lascelles building in the background. .4 - Flinders St looking north east with Snows, the SEC, a Hotel and Hearnes sign showing. Has a W2 436? route 27 Hawthorn eastbound. Typed on rear "Enlargement of No. 76, Sheet No. 28 (report P25/1/8), "Spare" written in pencil and "For Testing Engrs 1/11/51" in ink. .5 - looking north with a horse drawn cart and a SW6 (East Kew) with dash canopy lighting. .6 - looking north - with Hearnes Provisions, Olympia Inn and Coffee Lounge and Young & Jacksons Hotel. Has a W2 partly in the photo about to enter the Safety Zone. ..7 - similar to .1 - with Snows, W2 route 48 North Balwyn and a Pattons Dry Cleaning van. See also Reg 4519 for another 7 photos of the same series.trams, tramways, traffic control, congestion, flinders st, spencer st, route 27, route 28, east kew, richmond, route 48, william st, safety zone, hawthorn, tram 317, tram 436

Wright’s Coal Tar Soap was a popular brand of household soap, manufactured by William Valentine Wright from 1867. The yellow soap was antiseptic, designed to cleanse the skin thoroughly. It was originally named Sapo Carbonis Detergens, which remains a registered trademark. The product was developed from ‘liquor carbonis detergens’, the liquid by-product of the distillation of coal to make coke. The liquid was made into an antiseptic soap for treating skin diseases. William Valentine Wright was born in 1826 at Aldeburgh, Suffolk. He was a wholesale druggist and chemist who had a small business, W.V. Wright & Co., at 11 Old Fish Street Hill, City of London, where he first sold the soap. In 1863 Wright moved his firm to small premises at 50 Southwark Street, Southwark, London, and not long afterwards M. Sellers and Mr Charles Noel Layman joined the partnership. The company's name changed to Wright, Layman & Umney, when Charles Umney (1843–1909) was taken into the partnership on June 17, 1876, after the death of M. Sellers. William Valentine Wight 1877. Rob Umney, great-great-grandson of Charles Umney, provided further details about the firm, adding that in the late 1960s, the Wright’s Coal Tar Soap business was taken over by LRC Products Ltd who sold it to Smith & Nephew in 1994. The current owners of the brand, Simple Health and Beauty Ltd are based in Solihull and the soap is called Wright's Traditional Soap ‘With coal tar fragrance’. The coal tar has been replaced with tea tree oil. There were concerns that ingredients in coal tar could cause cancer when a person is exposed to very high concentrations, such as in roofing and road paving. In January 2025 the current manufacturers still produce the Wright's Coal Tar Soap.The flier states that Wright's Coal Tar Soap was sold throughout the United Kingdom and Colonies, which includes Australia. The soap is representative of the many consumer goods sold at pharmacies and chemist shops across the world, such as Sambell and Son, who operated a pharmacy in Fairy Street, Warrnambool in the 19th century. The paper flier is rectangular and has printed text and a logo. The top right corner has stamped punch marks. It promotes Wright's Coal Tar Soap, made by Wright, Layman & Umney Ltd. England.Punch mark; "1176"flagstaff hill, maritime museum, wright's, coal tar soap, soap, bathing, antiseptic, washing, personal hygiene, london, southwark, chemist, pharmacist, colonies, wright's coal tar soap, sapo carboni detergens, punch marks, england, soap tablet, babies soap, nursery soap, advertising, poster, flyer, wright, layman & umney ltd., w.t. wrifght & co., soap bar, soap cake

Wright’s Coal Tar Soap was a popular brand of household soap, manufactured by William Valentine Wright from 1867. The oval yellow soap tablet was antiseptic, designed to cleanse the skin thoroughly. It was originally named Sapo Carbonis Detergens, which remains a registered trademark. The product was developed from ‘liquor carbonis detergens’, the liquid by-product of the distillation of coal to make coke. The liquid was made into an antiseptic soap for treating skin diseases. William Valentine Wright was born in 1826 at Aldeburgh, Suffolk. He was a wholesale druggist and chemist who had a small business, W.V. Wright & Co., at 11 Old Fish Street Hill, City of London, where he first sold the soap. In 1863 Wright moved his firm to small premises at 50 Southwark Street, Southwark, London, and not long afterwards M. Sellers and Mr Charles Noel Layman joined the partnership. The company's name changed to Wright, Layman & Umney, when Charles Umney (1843–1909) was taken into the partnership on June 17, 1876, after the death of M. Sellers. William Valentine Wight 1877. Rob Umney, great-great-grandson of Charles Umney, provided further details about the firm, adding that in the late 1960s, the Wright’s Coal Tar Soap business was taken over by LRC Products Ltd who sold it to Smith & Nephew in 1994. The current owners of the brand, Simple Health and Beauty Ltd are based in Solihull and the soap is called Wright's Traditional Soap ‘With coal tar fragrance’. The coal tar has been replaced with tea tree oil. There were concerns that ingredients in coal tar could cause cancer when a person is exposed to very high concentrations, such as in roofing and road paving. In January 2025 the current manufacturers still produce the Wright's Coal Tar Soap.Wright's Coal Tar Soap was sold throughout the United Kingdom and Colonies, which includes Australia. The soap represents many consumer goods sold at pharmacies and chemist shops across the world, such as Sambell and Son, who operated a pharmacy in Fairy Street, Warrnambool in the 19th century. The product has endured for over 150 years.Soap; yellow oval tablet of soap engraved with the brand Wright's Coal Tar oval."WRIGHT'S / COAL TAR / SOAP"flagstaff hill, maritime museum, wright's, coal tar soap, soap, bathing, antiseptic, washing, personal hygiene, london, southwark, chemist, pharmacist, colonies, wright's coal tar soap, sapo carboni detergens, england, soap tablet, babies soap, nursery soap, wright, layman & umney ltd., w.t. wrifght & co., soap cake, soap bar, medical, cleansing, baby care

1 - "Spencer Street looking south from the roof of Hamill tyre service, tramcar held up in northbound traffic for a period of 3.5 minutes, date 28.9.54, time 0835 hrs. In the background is part of the Fish market building, the bridge itself carrying very heavy traffic. In the foreground is coming out of Siddeley Street, is an "Atlantic" petrol tanker and trucks for L & G Wilson carriers, and G H 'Don' Watson cattle truck. Note the truck carrying paper reels has come out of the Mobil Service Station and is turning south onto the bridge. Traffic is also struggling to exit Queens Wharf Road onto the bridge as well. The W2 class, is running to East Preston on Route 9 service. Note the Pioneer Tour coach, "CDR" petrol tanker and a forklift truck in the traffic mix. 2 - "Clarendon Street at Whiteman Street looking north (from tray of tramways truck), northbound trams held up by traffic across tracks, date 13-10-54, time 0810hrs". In the view is W5 class No. 808, running a Thornbury route 9B service. Another "Thornbury" bound tram can be glimpsed in the traffic ahead. In the background are the Robar Tea House, Hart & Co, Robur Tea advert, Bullen's Circus, and Vincent's pills. 3 - "Spencer Street from Batman Hill Hotel, looking south, general view of traffic, dated 22-10-54, time 1712 hrs". Has in the view, W2 class tram 574, running to "East Preston" route 9 service, and W2 No.566, running to "Hawthorn" on route 27 service. In the background is the Victorian Railways Head office, the Tea House and the railway viaduct. Note also the advertising for both Philips and Berger Master (Paints). Yields information about the traffic issues in Clarendon and Spencer Sts. 1954Black and white photograph with handwritten details of time and location on the rear. - set of 3.On the rear of each print is the details - see Context.trams, tramways, traffic congestion, w2 class, tram 808, tram 574, w5 class, clarendon st, spencer st, tram 566, route 9, route 27, route 9b

These are the recollections of Alan Menere (1915 – 2001). Alan grew up in Moonee Ponds, Victoria, and moved to Bendigo while in his early 20s. There he met some like-minded young men who enjoyed challenges and matters mechanical. Flying was the adventure of the time, and they decided to give it a go. There was no intention to be on the leading edge of gliding technology. The challenge was to fly, and by their own efforts. They were aided in this by the embryonic regulatory arrangements covering light aircraft construction and flying, a sense of optimistic can-do, and the cavalier estimation of risks that goes with being in your early 20s. The events described here took place against a darkening political background. Alan and his mates were politically aware, very left wing, and viewed the gathering storm in Europe with apprehension. They could see from early on that war was coming, and it would change everything. Prevented from joining the Air Force by his red-green colour blindness, Alan joined the Army the day after the Pearl Harbour attack. He served in an Armoured Reconnaissance Unit in Western Australia, then with the Army Education Service in New Britain. After the War he joined the Commonwealth Public Service. He moved to Canberra, but his Bendigo habits stayed with him, as he built sailboards and carved propellers, to the admiration of his sons. Alan developed macular degeneration in his mid-60s. He retired to Port Stephens, fishing and socializing when he wasn’t tinkering with wing-sails for his catamaran. As he could touch-type, he quickly learned to use a computer. Very aware that he was the last member of the Bendigo group still alive, he resolved to set down his flying experiences. The images he selected are included, but there are many more from the Bendigo days.A CD entitled "Alan Menere - Recollections of Gliding in Bendigo in the late 1930s". The CD contains 33 documents consisting of one word file, one PDF file (entitled "The Urge to Fly") and the rest are of either photos of the Bendigo Gliding club or generally around Bendigo itself. Also included are some paper clippings of accidents that happened and description of flights.history, bendigo, bendigo gliding club, alan menere

National Wool Museum exhibition in form of a series of portraits and a slideshow showcasing the women of Australia’s wool industry. Exhibition was launched on International Women’s Day 2019, featuring images by photographer ­Nicole Marie. Women In Wool The Australian wool industry would not be what it is today without the significant contribution of women. Often their role has been forgotten or underrepresented. Since colonial times, women have left their mark on the industry, such names as Eliza Forlonge, Elizabeth Macarthur and Anne Drysdale are examples of pioneering Australian women of wool. Traditionally woolsheds were claimed as the domain of men. In the past men would utter the phrase “ducks on the pond” as a cryptic warning to other male shearers that there were women in the sheds and they should watch their language and clean themselves up. But this segregation has changed. In recent years the role of women has increased dramatically across all aspects of the wool industry, but most significantly in woolsheds. Over the last decade the number of women in shearing sheds has almost doubled and it is set to increase further in the coming years. Today, in many sheds across Australia, sometimes women outnumber men when it comes around to shearing time. Women are active and important contributors to the prosperity of the industry. The portraits on show here are a celebration of the significant role of women in the industry. They are a diverse selection, including both young female shearers and experienced workers, ranging in age from 19 to 96. Many of the up-and-coming shearers started as rouseabouts and have stepped up to becoming shearers - one sitter for the project had just returned to the sheds after having a child only three-months before. Also on show are women who devoted decades of their lives to the industry and are only now becoming recognised for their vital role in Australian wool. Foreward by National Wool Museum Senior Curator - Dr. Luke Keoghvirtual imageswool, women in wool, nicole marie

National Wool Museum exhibition in form of a series of portraits and a slideshow showcasing the women of Australia’s wool industry. Exhibition was launched on International Women’s Day 2019, featuring images by photographer ­Nicole Marie. Women In Wool The Australian wool industry would not be what it is today without the significant contribution of women. Often their role has been forgotten or underrepresented. Since colonial times, women have left their mark on the industry, such names as Eliza Forlonge, Elizabeth Macarthur and Anne Drysdale are examples of pioneering Australian women of wool. Traditionally woolsheds were claimed as the domain of men. In the past men would utter the phrase “ducks on the pond” as a cryptic warning to other male shearers that there were women in the sheds and they should watch their language and clean themselves up. But this segregation has changed. In recent years the role of women has increased dramatically across all aspects of the wool industry, but most significantly in woolsheds. Over the last decade the number of women in shearing sheds has almost doubled and it is set to increase further in the coming years. Today, in many sheds across Australia, sometimes women outnumber men when it comes around to shearing time. Women are active and important contributors to the prosperity of the industry. The portraits on show here are a celebration of the significant role of women in the industry. They are a diverse selection, including both young female shearers and experienced workers, ranging in age from 19 to 96. Many of the up-and-coming shearers started as rouseabouts and have stepped up to becoming shearers - one sitter for the project had just returned to the sheds after having a child only three-months before. Also on show are women who devoted decades of their lives to the industry and are only now becoming recognised for their vital role in Australian wool. Foreward by National Wool Museum Senior Curator - Dr. Luke Keoghvirtual imageswool, women in wool, nicole marie

National Wool Museum exhibition in form of a series of portraits and a slideshow showcasing the women of Australia’s wool industry. Exhibition was launched on International Women’s Day 2019, featuring images by photographer ­Nicole Marie. Women In Wool The Australian wool industry would not be what it is today without the significant contribution of women. Often their role has been forgotten or underrepresented. Since colonial times, women have left their mark on the industry, such names as Eliza Forlonge, Elizabeth Macarthur and Anne Drysdale are examples of pioneering Australian women of wool. Traditionally woolsheds were claimed as the domain of men. In the past men would utter the phrase “ducks on the pond” as a cryptic warning to other male shearers that there were women in the sheds and they should watch their language and clean themselves up. But this segregation has changed. In recent years the role of women has increased dramatically across all aspects of the wool industry, but most significantly in woolsheds. Over the last decade the number of women in shearing sheds has almost doubled and it is set to increase further in the coming years. Today, in many sheds across Australia, sometimes women outnumber men when it comes around to shearing time. Women are active and important contributors to the prosperity of the industry. The portraits on show here are a celebration of the significant role of women in the industry. They are a diverse selection, including both young female shearers and experienced workers, ranging in age from 19 to 96. Many of the up-and-coming shearers started as rouseabouts and have stepped up to becoming shearers - one sitter for the project had just returned to the sheds after having a child only three-months before. Also on show are women who devoted decades of their lives to the industry and are only now becoming recognised for their vital role in Australian wool. Foreward by National Wool Museum Senior Curator - Dr. Luke Keoghvirtual imageswool, women in wool, nicole marie

National Wool Museum exhibition in form of a series of portraits and a slideshow showcasing the women of Australia’s wool industry. Exhibition was launched on International Women’s Day 2019, featuring images by photographer ­Nicole Marie. Women In Wool The Australian wool industry would not be what it is today without the significant contribution of women. Often their role has been forgotten or underrepresented. Since colonial times, women have left their mark on the industry, such names as Eliza Forlonge, Elizabeth Macarthur and Anne Drysdale are examples of pioneering Australian women of wool. Traditionally woolsheds were claimed as the domain of men. In the past men would utter the phrase “ducks on the pond” as a cryptic warning to other male shearers that there were women in the sheds and they should watch their language and clean themselves up. But this segregation has changed. In recent years the role of women has increased dramatically across all aspects of the wool industry, but most significantly in woolsheds. Over the last decade the number of women in shearing sheds has almost doubled and it is set to increase further in the coming years. Today, in many sheds across Australia, sometimes women outnumber men when it comes around to shearing time. Women are active and important contributors to the prosperity of the industry. The portraits on show here are a celebration of the significant role of women in the industry. They are a diverse selection, including both young female shearers and experienced workers, ranging in age from 19 to 96. Many of the up-and-coming shearers started as rouseabouts and have stepped up to becoming shearers - one sitter for the project had just returned to the sheds after having a child only three-months before. Also on show are women who devoted decades of their lives to the industry and are only now becoming recognised for their vital role in Australian wool. Foreward by National Wool Museum Senior Curator - Dr. Luke KeoghVirtual Imageswool, women in wool, nicole marie

National Wool Museum exhibition in form of a series of portraits and a slideshow showcasing the women of Australia’s wool industry. Exhibition was launched on International Women’s Day 2019, featuring images by photographer ­Nicole Marie. Women In Wool The Australian wool industry would not be what it is today without the significant contribution of women. Often their role has been forgotten or underrepresented. Since colonial times, women have left their mark on the industry, such names as Eliza Forlonge, Elizabeth Macarthur and Anne Drysdale are examples of pioneering Australian women of wool. Traditionally woolsheds were claimed as the domain of men. In the past men would utter the phrase “ducks on the pond” as a cryptic warning to other male shearers that there were women in the sheds and they should watch their language and clean themselves up. But this segregation has changed. In recent years the role of women has increased dramatically across all aspects of the wool industry, but most significantly in woolsheds. Over the last decade the number of women in shearing sheds has almost doubled and it is set to increase further in the coming years. Today, in many sheds across Australia, sometimes women outnumber men when it comes around to shearing time. Women are active and important contributors to the prosperity of the industry. The portraits on show here are a celebration of the significant role of women in the industry. They are a diverse selection, including both young female shearers and experienced workers, ranging in age from 19 to 96. Many of the up-and-coming shearers started as rouseabouts and have stepped up to becoming shearers - one sitter for the project had just returned to the sheds after having a child only three-months before. Also on show are women who devoted decades of their lives to the industry and are only now becoming recognised for their vital role in Australian wool. Foreward by National Wool Museum Senior Curator - Dr. Luke Keoghvirtual imageswool, women in wool, nicole marie

National Wool Museum exhibition in form of a series of portraits and a slideshow showcasing the women of Australia’s wool industry. Exhibition was launched on International Women’s Day 2019, featuring images by photographer ­Nicole Marie. Women In Wool The Australian wool industry would not be what it is today without the significant contribution of women. Often their role has been forgotten or underrepresented. Since colonial times, women have left their mark on the industry, such names as Eliza Forlonge, Elizabeth Macarthur and Anne Drysdale are examples of pioneering Australian women of wool. Traditionally woolsheds were claimed as the domain of men. In the past men would utter the phrase “ducks on the pond” as a cryptic warning to other male shearers that there were women in the sheds and they should watch their language and clean themselves up. But this segregation has changed. In recent years the role of women has increased dramatically across all aspects of the wool industry, but most significantly in woolsheds. Over the last decade the number of women in shearing sheds has almost doubled and it is set to increase further in the coming years. Today, in many sheds across Australia, sometimes women outnumber men when it comes around to shearing time. Women are active and important contributors to the prosperity of the industry. The portraits on show here are a celebration of the significant role of women in the industry. They are a diverse selection, including both young female shearers and experienced workers, ranging in age from 19 to 96. Many of the up-and-coming shearers started as rouseabouts and have stepped up to becoming shearers - one sitter for the project had just returned to the sheds after having a child only three-months before. Also on show are women who devoted decades of their lives to the industry and are only now becoming recognised for their vital role in Australian wool. Foreward by National Wool Museum Senior Curator - Dr. Luke Keoghvirtual imageswool, women in wool, nicole marie

National Wool Museum exhibition in form of a series of portraits and a slideshow showcasing the women of Australia’s wool industry. Exhibition was launched on International Women’s Day 2019, featuring images by photographer ­Nicole Marie. Women In Wool The Australian wool industry would not be what it is today without the significant contribution of women. Often their role has been forgotten or underrepresented. Since colonial times, women have left their mark on the industry, such names as Eliza Forlonge, Elizabeth Macarthur and Anne Drysdale are examples of pioneering Australian women of wool. Traditionally woolsheds were claimed as the domain of men. In the past men would utter the phrase “ducks on the pond” as a cryptic warning to other male shearers that there were women in the sheds and they should watch their language and clean themselves up. But this segregation has changed. In recent years the role of women has increased dramatically across all aspects of the wool industry, but most significantly in woolsheds. Over the last decade the number of women in shearing sheds has almost doubled and it is set to increase further in the coming years. Today, in many sheds across Australia, sometimes women outnumber men when it comes around to shearing time. Women are active and important contributors to the prosperity of the industry. The portraits on show here are a celebration of the significant role of women in the industry. They are a diverse selection, including both young female shearers and experienced workers, ranging in age from 19 to 96. Many of the up-and-coming shearers started as rouseabouts and have stepped up to becoming shearers - one sitter for the project had just returned to the sheds after having a child only three-months before. Also on show are women who devoted decades of their lives to the industry and are only now becoming recognised for their vital role in Australian wool. Foreward by National Wool Museum Senior Curator - Dr. Luke Keoghvirtual imageswool, women in wool, nicole marie

National Wool Museum exhibition in form of a series of portraits and a slideshow showcasing the women of Australia’s wool industry. Exhibition was launched on International Women’s Day 2019, featuring images by photographer ­Nicole Marie. Women In Wool The Australian wool industry would not be what it is today without the significant contribution of women. Often their role has been forgotten or underrepresented. Since colonial times, women have left their mark on the industry, such names as Eliza Forlonge, Elizabeth Macarthur and Anne Drysdale are examples of pioneering Australian women of wool. Traditionally woolsheds were claimed as the domain of men. In the past men would utter the phrase “ducks on the pond” as a cryptic warning to other male shearers that there were women in the sheds and they should watch their language and clean themselves up. But this segregation has changed. In recent years the role of women has increased dramatically across all aspects of the wool industry, but most significantly in woolsheds. Over the last decade the number of women in shearing sheds has almost doubled and it is set to increase further in the coming years. Today, in many sheds across Australia, sometimes women outnumber men when it comes around to shearing time. Women are active and important contributors to the prosperity of the industry. The portraits on show here are a celebration of the significant role of women in the industry. They are a diverse selection, including both young female shearers and experienced workers, ranging in age from 19 to 96. Many of the up-and-coming shearers started as rouseabouts and have stepped up to becoming shearers - one sitter for the project had just returned to the sheds after having a child only three-months before. Also on show are women who devoted decades of their lives to the industry and are only now becoming recognised for their vital role in Australian wool. Foreward by National Wool Museum Senior Curator - Dr. Luke Keoghvirtual imageswool, women in wool, nicole marie

The Melbourne and Metropolitan Board of Works (MMBW) plans were produced from the 1890s to the 1950s. They were crucial to the design and development of Melbourne's sewerage and drainage system. The plans, at a scale of 40 feet to 1 inch (1:480), provide a detailed historical record of Melbourne streetscapes and environmental features. Each plan covers one or two street blocks (roughly six streets), showing details of buildings, including garden layouts and ownership boundaries, and features such as laneways, drains, bridges, parks, municipal boundaries and other prominent landmarks as they existed at the time each plan was produced. (Source: State Library of Victoria)This plan forms part of a large group of MMBW plans and maps that was donated to the Society by the Mr Poulter, City Engineer of the City of Kew in 1989. Within this collection, thirty-five hand-coloured plans, backed with linen, are of statewide significance as they include annotations that provide details of construction materials used in buildings in the first decade of the 20th century as well as additional information about land ownership and usage. The copies in the Public Record Office Victoria and the State Library of Victoria are monochrome versions which do not denote building materials so that the maps in this collection are invaluable and unique tools for researchers and heritage consultants. A number of the plans are not held in the collection of the State Library of Victoria so they have the additional attribute of rarity.Original survey plan, issued by the MMBW to a contractor with responsibility for constructing sewers in the area identified on the plan within the Borough of Kew. The plan was at some stage hand-coloured, possibly by the contractor, but more likely by officers working in the Engineering Department of the Borough and later Town, then City of Kew. The hand-coloured sections of buildings on the plan were used to denote masonry or brick constructions (pink), weatherboard constructions (yellow), and public buildings (grey). The area represented in this detail plan has undergone significant change during the 20th century. The widening of High Street in the 1930s and 1950s involved the shops on the south side of High Street being demolished and later rebuilt to fit the widened street. Another significant loss was the mansion ‘Drayton’ fronting Wellington Street, owned at this stage by Susannah Fenton. Her family name would later to be given to Fenton Way, which was to be built over the grounds of the house following its demolition. The plan of the garden is particularly interesting, containing a batten dome fronting Wellington Street, an ornamental pond, a fountain and a brick and glass conservatory. The notes by the plumbing contractor on this plan are particularly detailed. Pink borders delineate the ownership of the varying parcels of land. Some of the better known owners listed include the real estate agent Cr. Henry de Castres Kellett (bt) and John Padbury, the funeral director. This particular plan provides a clear view of the configuration of the Kew Junction in 1903 and the commercial buildings that surrounded it.melbourne and metropolitan board of works, detail plans, maps - borough of kew, mmbw 1580, cartography

Contributor: T.H. KneenBox of slides, mostly labelled. 1. "School Building (May 1960) No. 1950." 2. "Students 5-2-58 John Richards Helen Page Instructor J.B. Nowell No. 1881." 3. "Orchard-Burnley (1960) No. 1953." 4. "Flower Bed & Lawns No. 1774." 5. "Plant Science Block Jul 69." 6. "Citrus myrtifolia being lifted (1960) No. 1945." 7, 8, "Mar 67." 9. "Dec 66." 10. "Long Border Aug '54 No. 1758." 11. "Border Display & Pond No. 1792." 12. "Rose Pruning Jul 67." 13. "Grampians-MCK Falls 10/65." 14. "Archway- Burnley Gar Yellow Banksia Rose No. 1779." 15. "P.R.L. No. 1684." 16. "Principal's Residence (Spring) Amygdalus pollardii No. 1716." 17. Views of Drive No. 1676." 18. "Field Day '57 Demonstration Burnley No. 1917." 19. "Shrubs & Annuals No. 1772." 20. "Burnley Gardens Flower Beds & Lawns Aut 1957 No. 1742." 21. "Vegetable GardenStudents 5.2.58 John Deverson Dorothy Issell Instructor I.G. McCure." 22. "School Lawn Golden Willow No.1754." 23. "Rose Pruning Demo No.1969 Jul 89." 24. "Field Day '57 Budding Burnley No. 1911." 25. "Field Day 57 Drainage No.1918 Burnley." 26. Rose Pruning Demo T. Komebum? Jul 69." 27. "Rose Pruning Demo Jul 69." 28. "Orchard." 29. "Wilson's Promontory N. P. Tidal River."school building, students, john richards, helen page, j.b. nowell, burnley, flower beds, lawns, administration building, orchard, plants, long border, rose pruning, grampians, principals residence, vegetable gardens, students working outside, lawnmower, john deveson, dorothy issell, golden willow, field day, wilsons promontory

Set of 17 Tram Route Maps, published during 2013 and 2014. Each comprises a vertical DL folded sheet, full colour for the nominated routes, with Yarra Trams and PTV logos, listing the stops, interchanges with bus and other tram services, ticketing zones, estimated frequencies with adverts for Night tram services, TramTracker and Myki tickets. .1 - Route 3 - East Malvern - Melbourne Uni and 3A via St Kilda (Sat and Sun) .2 - Route 6 - Melbourne University to Glen Iris .3 - Route 12 - St Kilda - Victoria Gardens .4 - Route 16 - Kew via St Kilda .5 -Route 30 - St Vincent's Plaza - Etihad Stadium .6 - Route 55 - West Coburg - Domain Interchange .7 - Route 59 - Airport West - City (Elizabeth St) .8 - Route 64 - Melbourne University - East Brighton .9 - Route 70 - Wattle Park to Waterfront City Docklands .10 - Route 75 - Docklands - Vermont South .11 - Route 78 - North Richmond - Balaclava .12 - Route 82 - Moonee Ponds - Footscray .13 - Route 86 - Bundoora - Waterfront City .14 - Route 96 - East Brunswick - St Kilda Beach .15 - Route 109 - Box Hill - Port Melbourne .16 - Route 112 and 11 - West Preston - St Kilda and West Preston - Victoria Harbour Docklands .17 - Route 24 - North Balwyn to Etihad Stadium See Reg Item 2396 for 2012, 2278 for 2016 and 2939 for 2015 versionstrams, tramways, timetables, maps, route 3, route 6, route 11, route 12, route 16, route 24, route 30, route 55, route 59, route 64, route 70, route 75, route 78, route 82, route 86, route 96, route 109, route 112, east malvern, glen iris, victoria gardens, kew, st vincent's plaza, west coburg, airport west, east brighton, wattle park, vermont south, north richmond, moonee ponds, footscray, st kilda, docklands, west preston, victoria harbour, north balwyn, etihad stadium