Motorised tugs were used by ground crew to move aircraft on the ground.This tug is of historical significance to the B24-LiberatorMotorised Aircraft TugMERCURY TRUCK & TRACTOR CO LTD GLOUCESTER ENGLAND-Embossed figurehead of Mercury on front. The MERCURY TRUCK & TRACTOR CO GLOUCESTER , For Spare parts quote chassis no.4962. Tyre Pressure LBS.Per Sq Inch - Front 70 Rear 45 ON plate on Dashboard MORRIS COMMERCIAL embossed on gearbox housing. MT & T embossed on either side of radiator.

Jacket worn by Brendan Honey when performing the duties of a Petty Officer Radio Supervisor in the Royal Australian Navy from Oct 1979 to Oct 2000Jacket Double Breasted Service Dress Navy Blue with gold embroided insignia, [Radio Operator Petty Officer] on right upper arm; gold embroided rank insignia [Petty Officer] above three gold embroided chevrons indicating 12 years service on the left upper arm; shoulder flashes with gold embroided word, "Australia" on both shoulders. 8 gold button with embossed Australian Navy Emblem and the word "Australia" in parallel columns of 4. Size 99R (Regular fit) with 2 small gold button with embossed Australian Navy Emblem and the word "Australia" the cuff of each arm.Manufacturer's identification label on inside right breast.Manufacturers label measuring 4mm x 8mm showing company logo ADA / 1990 / arrow pointed up /NSN:8405-66-132-2314 / 70% 30% Wool Poly / size 99R / match / trouser size 89R / No / Name / Dry Clean Only / Made in Australia/ owner's name written in black by a laundry marking penjacket, navy, jacket service dress, jacket petty office radio supervisor

These tokens are customer reward tokens which can be redeemed for a discount when making a later purchase. The practice of using tokens was prevalent in the early settlement of Australia when shop owners issued tokens as a form of currency. These are three of a number of tokens issued by Armstrong shoes which was established by Max Armstrong who once lived in Warrnambool and helped to run the family shoe business here. He was an excellent rower and on his arrival in Warrnambool worked towards reviving the Warrnambool Rowing Club.Interesting items with social and historical significance.001047.1 Round white metal token with penny farthing enclosed in circle on one side and lady’s button up boot. Surrounded by text. Edge plain. 001047.2 Round yellow metal with diagram of astronaut on front surrounded by text. Back has text in centre surrounded by larger text. 001047.3Round yellow metal. Emu and kangaroo with text above and date below. The back image of man surrounded by text. 001047.1 Armstrong shoe mart old fashion value on front with maker’s name Stokes below penny-farthing. On reverse Armstrong boot and shoe warehouse estab. Four generations Stokes Melb. 001047.2Armstrong’s shoes first on the moon. Armstrong shoe mart Frankston. On the reverse text in centre reads “This $1 token gains $1 each year from 1987 till year 2000 AD when worth $14 off next pair of shoes at Armstrong shoe mart 70 Wells St Frankston. Around rim,” Armstrong inflation proof dollar. Edition limited to 5000. 001047.3 On front Advance Australia 1987. On back Armstrong shoe mart shoex 70 Wells St Frankston Look at you shoes others do. Ian M L Armstrong 1984 armstrong shoe token, dollar token, warrnambool, frankston shoe mart,

These circular letters have been sent by the Secretary of the Warrnambool Club to committee members of the club in the 1870s and 80s. The Warrnambool Club, a club for men of some standing in the community, was established in the early 1870s and initially had rooms in the Warrnambool Club Hotel which was opened by John Amon Smith in January 1874. This hotel was in Kepler Street between Timor and Koroit Streets. By 1876 membership of the Warrnambool Club had grown to over 70 and the Warrnambool Club Hotel rooms were deemed to be too small. So the Warrnambool Club erected a new building in 1877 in Kepler Street. Today the Warrnambool Club operates today from the same building. These items are of historical significance because they are original 19th century documents associated with the Warrnambool Club, an important institution in Warrnambool for over 140 years. These are five sheets of paper folded to make four pages for each sheet. They date from the 1870s and 80s and are circular letters sent to committee members of the Warrnambool Club regarding forthcoming meetings. The letters are printed with handwritten material in the spaces of the first four items for the dates, signature of the Secretary and the business of the meeting. The handwriting is in black ink. Item One has been badly damaged by silverfish.warrnambool club, walter helpman, history of warrnambool

Centred on Main Rd and Henry St, Eltham bounded by Railway Road to north, Mount Pleasant Road at Main Road to south, top of the hill in Arthur Street to east and Karingal Drive at Sherbourne Road to west. Historic Aerial Imagery Source: Landata.vic.gov.au Aerial Photo Details: Project No :65 Project : MELBOURNE AND METROPOLITAN PROJECT NO. 2 Run : 8 Frame : 70 Date : 01/1951 Film Type : B/W Camera : EAG9 Flying Height : 12200 Scale : 12000 Film Number : 1419 GDA2020 : 37°43'06"S, 145°08'45"E MGA2020 : 336589, 5823811 (55) Melways : 21 J6 (ed. 42)aerial photo, eltham, main road, henry street, arthur street, bolton street, eltham-yarra glen road, neil webster collection, 1951-01, dave lyon house, ernie andrew house, karingal road, melway 21j6, mount pleasant road, railway road

Opposite No. 11 Kerrie Crescent, (actually 71 Silver street), a 1948 Knox designed mudbrick, with a delightful inglenook fireplace. Additional bedrooms have been added on the top verandah; up the narrow stairs a concrete bath The 1993 Eltham Heritage Tour was enjoyed by a busload of members of the Historical Society on a fine, calm day, Sunday May 23rd. Between 10.00 am and 4.30 pm, except for a brief lunch stop at the Eltham Living and Learning Centre, members passed about thirty places of local interest and others recommended for the Historic Buildings Register and the Register of the National Estate. A number of significant trees and buildings were also highlighted along with the opportunity to explored some of the properties.35mm colour positive transparency (1 of 24) Mount - Kodak Kodachromeactivities, shire of eltham historical society, heritage excursion, eltham, houses, mudbrick, busst house, kerrie crescent, silver street

Opposite No. 11 Kerrie Crescent, (actually 71 Silver street), a 1948 Knox designed mudbrick, with a delightful inglenook fireplace. Additional bedrooms have been added on the top verandah; up the narrow stairs a concrete bath The 1993 Eltham Heritage Tour was enjoyed by a busload of members of the Historical Society on a fine, calm day, Sunday May 23rd. Between 10.00 am and 4.30 pm, except for a brief lunch stop at the Eltham Living and Learning Centre, members passed about thirty places of local interest and others recommended for the Historic Buildings Register and the Register of the National Estate. A number of significant trees and buildings were also highlighted along with the opportunity to explored some of the properties.35mm colour positive transparency (1 of 24) Mount - Kodak Kodachromeactivities, shire of eltham historical society, heritage excursion, eltham, houses, mudbrick, busst house, kerrie crescent, silver street

Opposite No. 11 Kerrie Crescent, (actually 71 Silver street), a 1948 Knox designed mudbrick, with a delightful inglenook fireplace. Additional bedrooms have been added on the top verandah; up the narrow stairs a concrete bath The 1993 Eltham Heritage Tour was enjoyed by a busload of members of the Historical Society on a fine, calm day, Sunday May 23rd. Between 10.00 am and 4.30 pm, except for a brief lunch stop at the Eltham Living and Learning Centre, members passed about thirty places of local interest and others recommended for the Historic Buildings Register and the Register of the National Estate. A number of significant trees and buildings were also highlighted along with the opportunity to explored some of the properties.35mm colour positive transparency (1 of 24) Mount - Kodak Kodachromeactivities, shire of eltham historical society, heritage excursion, eltham, houses, mudbrick, busst house, kerrie crescent, silver street

Opposite No. 11 Kerrie Crescent, (actually 71 Silver street), a 1948 Knox designed mudbrick, with a delightful inglenook fireplace. Additional bedrooms have been added on the top verandah; up the narrow stairs a concrete bath The 1993 Eltham Heritage Tour was enjoyed by a busload of members of the Historical Society on a fine, calm day, Sunday May 23rd. Between 10.00 am and 4.30 pm, except for a brief lunch stop at the Eltham Living and Learning Centre, members passed about thirty places of local interest and others recommended for the Historic Buildings Register and the Register of the National Estate. A number of significant trees and buildings were also highlighted along with the opportunity to explored some of the properties.35mm colour positive transparency (1 of 24) Mount - Kodak Kodachromeactivities, shire of eltham historical society, heritage excursion, eltham, houses, mudbrick, busst house, kerrie crescent, silver street

Opposite No. 11 Kerrie Crescent, (actually 71 Silver street), a 1948 Knox designed mudbrick, with a delightful inglenook fireplace. Additional bedrooms have been added on the top verandah; up the narrow stairs a concrete bath The 1993 Eltham Heritage Tour was enjoyed by a busload of members of the Historical Society on a fine, calm day, Sunday May 23rd. Between 10.00 am and 4.30 pm, except for a brief lunch stop at the Eltham Living and Learning Centre, members passed about thirty places of local interest and others recommended for the Historic Buildings Register and the Register of the National Estate. A number of significant trees and buildings were also highlighted along with the opportunity to explored some of the properties.35mm colour positive transparency (1 of 24) Mount - Kodak Kodachromeactivities, shire of eltham historical society, heritage excursion, eltham, houses, mudbrick, busst house, kerrie crescent, silver street

Opposite No. 11 Kerrie Crescent, (actually 71 Silver street), a 1948 Knox designed mudbrick, with a delightful inglenook fireplace. Additional bedrooms have been added on the top verandah; up the narrow stairs a concrete bath The 1993 Eltham Heritage Tour was enjoyed by a busload of members of the Historical Society on a fine, calm day, Sunday May 23rd. Between 10.00 am and 4.30 pm, except for a brief lunch stop at the Eltham Living and Learning Centre, members passed about thirty places of local interest and others recommended for the Historic Buildings Register and the Register of the National Estate. A number of significant trees and buildings were also highlighted along with the opportunity to explored some of the properties.35mm colour positive transparency (1 of 24) Mount - Kodak Kodachromeactivities, shire of eltham historical society, heritage excursion, eltham, houses, mudbrick, busst house, kerrie crescent, silver street

On November 21, 2010 Seeing Eye Dogs Australia (SEDA) hosted an annual public open day at its National Kennel and Puppy Centre in Kensington. People were invited to learn more about SEDA and participate in guided tours where they could explore the extensive facilities, which featured a rehabilitation therapy pool, breeding centre, public viewing platform directly into the heart of its kennels and puppy play centre. Demonstrations of Seeing Eye Dogs at work helped visitors gain a better understanding of how SEDA helps to transform the lives of people who are blind or have low vision, and potentially how they can contribute to the $30,000 cost required to train a Seeing Eye Dog.379 digital photographs of SEDA open day in 2010seeing eye dogs australia, fundraising, leona holloway

Was located in the stables at Mount Buffalo Chalet. It was used to record the names of horses that were ridden by Chalet guests when they were holidaying at the Chalet. 'Admiring the rugged beauty of the Buffalo Plateau and exploring its scenic attractions ...quickly became part of the Mount Buffalo Chalet tourist experience...The Chalet facilitated the experience by hosting guided tours, including trail rides on horseback...the horses remained at the Chalet for decades, and have been remembered with great affection, as demonstrated by the honour roll for Chalet horses and various commemorative plaques.' (Pg 98. Historica) Many of these horses are still remmbered by former guest of the Chalet. Granite and Punka were legendary and plaques in their honor are mounted on the large granite boulders in the stableyards.Listed in Draft Inventory of Significant Collection items. Appendix A.3, Snow sports equipment and other recreational items. (Pg 166 Historica).Wooden plaque with names painted onto strips of leather fixed to a board. The board is made of two sections of wood and is arched at the top and squared at the base. The piece at the top that appears to be earlier and has gold painted inscriptions with decorative scrolling around the edge. The board has leather strapping around the edge and two stirrups threaded onto leather at the base. The upper section of the board has all the names painted onto leather strips. The lower section of the board has some names painted onto strips but also some names are scratched directly onto the wood.At top of plaque, "ROLL OF HONOUR /TO / OUR FRIENDS - / THE CHALET HORSES, / WHO GAVE US MANY HAPPY HOURS / BUT WHO HAVE SINCE MOVED / "DOWN THE HILL". FROM THE / TIME OF "PUNKA" / WHO SERVED / FAITHFULLY FOR 20 YEARS" Underneat this are the names of the individual horses starting with , "PUNKA....."

Tony Albert’s 2022 solo exhibition at Sullivan+Strumpf, Remark, continues the artist’s investigation into the imagery and identification of appropriated Indigenous Australian iconography in domestic decoration and design. Incorporating fabric from his extensive collection of ‘Aboriginalia’, Remark sees Albert expand on his acclaimed Conversations with Margaret Preston series dimensionality, critically engaging with the fabric in his own right. Like the fabric of Australian society, the appropriated Indigenous imagery printed on souvenir tea towels intertwines in a complicated web of national identity. These are not images by Aboriginal people and our voices and autonomy continued to be silenced through the object’s inauthenticity. As a country we must reconcile with these objects’ very existence. They are painful reiterations of a violent and oppressive history, but we also cannot hide or destroy them because they are an important societal record that should not be forgotten. As an artist this juxtaposition and tension fascinates me. Tony Albert’s multidisciplinary practice investigates contemporary legacies of colonialism, prompting audiences to contemplate the human condition. Drawing on both personal and collective histories, Albert explores the ways in which optimism can be utilised to overcome adversity. His work poses important questions such as how do we remember, give justice to, and rewrite complex and traumatic histories. Albert’s technique and imagery are distinctly contemporary, displacing traditional Australian Aboriginal aesthetics with an urban conceptuality. Appropriating textual references from sources as diverse as popular music, film, fiction, and art history, Albert plays with the tension arising from the visibility, and in-turn, the invisibility of Aboriginal People across the news media, literature, and the visual world. australian first nations art, colonialisation

Tony Albert’s 2022 solo exhibition at Sullivan+Strumpf, Remark, continues the artist’s investigation into the imagery and identification of appropriated Indigenous Australian iconography in domestic decoration and design. Incorporating fabric from his extensive collection of ‘Aboriginalia’, Remark sees Albert expand on his acclaimed Conversations with Margaret Preston series dimensionality, critically engaging with the fabric in his own right. Like the fabric of Australian society, the appropriated Indigenous imagery printed on souvenir tea towels intertwines in a complicated web of national identity. These are not images by Aboriginal people and our voices and autonomy continued to be silenced through the object’s inauthenticity. As a country we must reconcile with these objects’ very existence. They are painful reiterations of a violent and oppressive history, but we also cannot hide or destroy them because they are an important societal record that should not be forgotten. As an artist this juxtaposition and tension fascinates me. Tony Albert’s multidisciplinary practice investigates contemporary legacies of colonialism, prompting audiences to contemplate the human condition. Drawing on both personal and collective histories, Albert explores the ways in which optimism can be utilised to overcome adversity. His work poses important questions such as how do we remember, give justice to, and rewrite complex and traumatic histories. Albert’s technique and imagery are distinctly contemporary, displacing traditional Australian Aboriginal aesthetics with an urban conceptuality. Appropriating textual references from sources as diverse as popular music, film, fiction, and art history, Albert plays with the tension arising from the visibility, and in-turn, the invisibility of Aboriginal People across the news media, literature, and the visual world. australian first nations art, colonialisation

Tony Albert’s 2022 solo exhibition at Sullivan+Strumpf, Remark, continues the artist’s investigation into the imagery and identification of appropriated Indigenous Australian iconography in domestic decoration and design. Incorporating fabric from his extensive collection of ‘Aboriginalia’, Remark sees Albert expand on his acclaimed Conversations with Margaret Preston series dimensionality, critically engaging with the fabric in his own right. Like the fabric of Australian society, the appropriated Indigenous imagery printed on souvenir tea towels intertwines in a complicated web of national identity. These are not images by Aboriginal people and our voices and autonomy continued to be silenced through the object’s inauthenticity. As a country we must reconcile with these objects’ very existence. They are painful reiterations of a violent and oppressive history, but we also cannot hide or destroy them because they are an important societal record that should not be forgotten. As an artist this juxtaposition and tension fascinates me. Tony Albert’s multidisciplinary practice investigates contemporary legacies of colonialism, prompting audiences to contemplate the human condition. Drawing on both personal and collective histories, Albert explores the ways in which optimism can be utilised to overcome adversity. His work poses important questions such as how do we remember, give justice to, and rewrite complex and traumatic histories. Albert’s technique and imagery are distinctly contemporary, displacing traditional Australian Aboriginal aesthetics with an urban conceptuality. Appropriating textual references from sources as diverse as popular music, film, fiction, and art history, Albert plays with the tension arising from the visibility, and in-turn, the invisibility of Aboriginal People across the news media, literature, and the visual world. australian first nations art, colonialisation

And Zarafa Kept Walking features an image of Zarafa, the first giraffe to be seen in France in the year 1826. She arrived as an exotic gift and political ploy from Muhammad Ali of Egypt to King Charles X. To the delight of many onlookers, she walked from Marseilles to Paris carrying with her perhaps a few feathered friends. She inspired tall hairstyles à la girafe, and prompted Honoré de Balzac to write a story about her. Gracia Haby and Louise Jennison have collaborated as ‘Gracia and Louise’ since 2002, exploring their mutual fascination with the adaptable possibilities of paper and creating works from found images to produce artists' books, prints, zines, drawings, and collages.

Colour photograph of a grave in the Bendigo Cemetery.Erected by David Brough in memory of his beloved wife Jean, who died Aug 10th 1889, aged 70 years Also their daughter Annie, the beloved wife of Joseph Walker, who died June 2nd 1873, aged 22 years.> "Thy will be done." Also David Brough died nov. 1st 1900, aged 79 years. At rest bendigo cemetery, david brough, jean brough walker, joseph walker, annie, gravestone

Black and white photograph. View across mining area showing at least 9 poppet head, 11 chimneys and many buildings associated with the mines. C to L - flume, wood stacks, mullock heaps. On back hand written in pencil and ink: 'Devonshire Group about 1880', 'Eaglehawk', 'Duchess Tr4ibute', 'South Devonshire', 'Princess Alexandra', 'United Devonshire', 'Pheonix' (sic), 'South St Mungo' (crossed out), 'hopewell', 'St Mungo' (crossed out), 'Duchess of Edinburgh' etc. 'At rear of Calfornia Hill State School', 'A Richardson, 29 Harrison St, Bendigo', Circular blue stamp 'Royal Historial Sociaty of Victoria, Bendigo Branch', 'MNG 70'.James Lerk 26/11/1999place, mining site, see also 2000.426.01, 2000.437.01, 2000.438.01, 2000.439.01, 2000.504.01, 2000.507.01, 2000.509.01

black and white postcard. Great extended Hustlers poppet head, now at Wattle Gully, Chewton ( J. Lerk 26.22.1999 ) Poppet head in front of mining buildings, stacks of sawn timber to right. Written on back ' Royal Historical Society of Victoria Bendigo Branch, printed across top. Great Extended Hustlers/locality/ Hustlers Hill, Nth. Bendigo/Formed 1865/Last production 1921/Depth of Shaft 3470 feet/Poppet Legs - Steel, 70 feet high. /Winding Engine: First motion 8 ft. drums/Gold Very Rich/Total Yield - 300,000 ozs. / Dividends $675,000. 'Post Card' printed on RH side.organization, business, great extended hustlers mine

Black and white head and shoulders photograph of Anne M Sutherland in a patterned swim suit. On the front of the photo is written: 1978 100m brst 2nd countries 1079 Countries 16yrs brst 2nd Countries 1976 WMB 200 Brst 3rd 12 YRS 100m Brst 1st Ind mdly 2nd 100m Fly 3rd 1974-75-78 Anne M. Sutherland On the back of the photo is written: Anne Maree Sutherland State Medalist Country & District A copy of the photo has written on the back: Anne Maree Sutherland State Medalist All Junior Country Medalist Central District Late 70 80srecreations, sports, swimming

Minute Book: 14-7-1934 minutes of preliminary meeting of shareholders company capital of £30,000 = 60,000 10/ each total shares subscribed for 50,000, total shareholders 71, it was moved that Central Napoleon Gold Mining Co N.L be registered under the companies act 1928 part 2, Rules of the company were adopted, it was carried that there be not less than three and not more than five directors, Directors then appointed, Manager of the company was appointed also bank appointed, includes meetings of directors and half yearly meetings of shareholders, list of 70 Shareholders dated 27 July 1934, entries dated from 14 July 1934 - 23 February 1951.organization, business, industrial - mining, mccoll rankin & stanistreet, mining, gold mining, central napoleon

In 1997, ATSIC released the discussion paper Our Culture: Our Future: Proposals for the Protection and Recognition of Indigenous Cultural and Intellectual Property, and invited public comment on the need for protecting and recognising Indigenous Cultural and Intellectual Property Rights. The report extracted here was developed in the light of over 70 submissions received on this discussion paper, and also in consultation with a National Indigenous Reference Group and other relevant individuals, communities and organisations. The Report details the types of rights Indigenous people seek in relation to their cultures and considers the application of current laws. It also makes recommendations for a comprehensive range of measures for improving the level of protection, including legal and non-legal reforms.colour illustrations, chartsindigenous cultural and intellectual property, intellectual property, copyright, native title

3053.1 - Duplicated foolscap sheet titled "Weekday Instructions", for Bendigo tramways giving details of tramcar roster runs, time on, where on, meal break times, time off - depot or city, total hours and specific instructions re tram runs after meal breaks, relief and changeovers. Five copies of this item received, three to Bendigo, two to Ballarat. The top copy (to Bendigo) had pencil date "2/9/70" in the top left hand corner. Image made. 3053.2 - Photocopy of a similar form titled "Weekday Instructions - Monday to Friday". Date unknown. Original copy to Bendigo Tramways. Style similar. Image not made. trams, tramways, bendigo, rosters, timetables

The numerous subdivision plans in the Kew Historical Society's collection represent working documents, ranging from the initial sketches made in planning a subdivision to printed plans on which auctioneers or agents listed the prices for which individual lots were sold. In a number of cases, the reverse of a subdivision plan in the collection includes a photograph of a house that was also for sale by the agent. Subdivision plans are historically important documents used as evidence of the growth of suburbs in Australia. They frequently provide information about when the land was sold on which a built structure was subsequently constructed as well as evidence relating to surveyors and real estate and financial agents. These photographs provide significant heritage information relating house design and decoration, fencing and household gardens.When 29 Uvadale Grove, Kew was offered for sale it was described as: ‘Kew. Fine locality, 3 minutes Cotham Road. Splendidly built 6 roomed Brick Villa. Rooms 17 x 14, 16 x 13, &c. Beautifully fitted throughout. Land 70 x 134 to ROW.’ The price was advertised as being £1,400. The house exhibits key features of Federation architecture such as the gabled roof with a facing of half-timber and stucco. The veranda has a curved corrugated iron roof supported by timber pillars and fretwork. The slate roof with terra cotta ridging and finials marks a transition to the more common use of Marseilles tiles in Federation architecture.subdivisions - kew (vic.), 29 uvadale grove - kew (vic.)

Set of two tender documents, each of two foolscap sheets for the supply and delivery of castings to the Boards repair shops (Nicholson St or Holden St?), with patterns supplied by the Board. Gives details of the quality, approx. quantity, patterns, delivery, rejection, payment, cancellation and other details. .1 - "Manufacture, supply and delivery of iron castings contract No. 96" - 70 to 85 tons /half year - tenders closed 29/4/1929. .2 - "Manufacture, supply and delivery of steel castings contract No. 96" - 50 tons / year - tenders closed 10/6/1920. 2 copies of each, either pinned or clipped with a brass clip in top left hand corner.trams, tramways, tenders, contracts, mmtb, cable trams, castings, brake blocks

Rear of container - information. RAN SUBMARINE SQUADRON 25TH ANNIVERSARY. NUMBER NAME LAID DOWN LAUNCHED FIRST COM'D 57 OXLEY 2/7/64 24/9/65 27/3/67 59 OTWAY 29/6/65 29/11/66 22/4/68 70 OVENS 17/6/66 4/12/67 18/4/69 60 ONSLOW 26/5/67 3/12/67 22/12/69 61 ORION 6/10/72 16/9/74 15/6/77 62 OTAMA 28/5/73 3/12/75 27/4/781. & 2. Unusual shaped ceramic container to be used for Port. Black glossy glaze with illustration. 1. Front - 2 gold dolphins and decoration in gold, white and red with inscription in silver "ANNIVERSARY/ 25th" Back - list of RAN Submarine Squadron vessels. 2. Back - in shape of crown with - list of RAN Submarine Squadron vessels.Information print in white on container. See Context Historical.souvenirs, anniversary, ran, submarines

David Fletcher Jones was born in Bendigo in 1895. He served in World War 1 and returned in 1917 and with a war repatriation loan bought a hawkers wagon and commenced working a circuit around the Western District. In 1924 he bought a business in Warrnambool and after an initial shaky start he started to build his business. He was well regarded and involved in the town and the 1960-70’s saw the Fletcher Jones brand and factory expand to become one of the largest employers in the town. Ownership was based on a co-operative model with employees owning shares in the company. As well as manufacturing he had a number of retail stores across Australia. This item is likely to be a prop from one such store. A minor item which is linked to an important part of Warrnambool’s past.Piece of wood shaped like a necktie with advertising slogan and small diagram in black text.Fletcher Jones says “Gentlemen prefer Blends” You will never wear a colour that hurts your eyes_ When you accept the help of “The Man’s Shop”sir fletcher jones, david fletcher jones, fletcher jones warrnambool