Small brown booklet with three holes punched in side used for Military Training.non-fiction

Taken on an unknown date, depicted is a portrait of a young, unidentified male soldier. He is dressed in an Australian military uniform. It is believed that this soldier was part of The Australian Imperial Force during World War I. This can be inferred by the 'Rising Sun' collar badge on his coat. Australia, unlike most other Commonwealth countries, did not adopt metal regimental badges during the First World War. All units were issued with the Australian Army General Service Badge, better known as the 'Rising Sun’ badge. This insignia is almost always identified with the Australian Imperial Force.The record is historically significant due to its connection to World War I. This conflict is integral to Australian culture as it was the single greatest loss of life and the greatest repatriation of casualties in the country's history. Australia’s involvement in the First World War began when the Australian government established the Australian Imperial Force (AIF) in August 1914. Immediately, men were recruited to serve the British Empire in the Middle East and on the Western Front. The first significant Australian action of the war was the Australian Naval and Military Expeditionary Force’s (ANMEF) landing on Rabaul on 11 September 1914. The ANMEF took possession of German New Guinea at Toma on 17 September 1914 and of the neighbouring islands of the Bismarck Archipelago in October 1914. On 25 April 1915, members of the AIF landed on Gallipoli in Turkey with troops from New Zealand, Britain, and France. This specific event holds very strong significance within Australian history. The record has strong research potential. This is due to the ongoing public and scholarly interest in war, history, and especially the ANZAC legend, which is commemorated annually on 25 April, known as ANZAC Day.Sepia rectangular postcard printed on card.Reverse: BMM2640.2 / POST CARD / Write here for Inland Postage only / The Address to be written heremilitary album, wwi, world war i, australian army, australian imperial force, aif, uniform, postcard, portrait

Taken on an unknown date, depicted is a full-length portrait of a young, unidentified male soldier. He is dressed in an Australian military uniform. It is believed that this soldier was part of The Australian Imperial Force during World War I. This can be inferred by the 'Rising Sun' collar badge on his coat. Australia, unlike most other Commonwealth countries, did not adopt metal regimental badges during the First World War. All units were issued with the Australian Army General Service Badge, better known as the 'Rising Sun’ badge. This insignia is almost always identified with the Australian Imperial Force.The record is historically significant due to its connection to World War I. This conflict is integral to Australian culture as it was the single greatest loss of life and the greatest repatriation of casualties in the country's history. Australia’s involvement in the First World War began when the Australian government established the Australian Imperial Force (AIF) in August 1914. Immediately, men were recruited to serve the British Empire in the Middle East and on the Western Front. The first significant Australian action of the war was the Australian Naval and Military Expeditionary Force’s (ANMEF) landing on Rabaul on 11 September 1914. The ANMEF took possession of German New Guinea at Toma on 17 September 1914 and of the neighbouring islands of the Bismarck Archipelago in October 1914. On 25 April 1915, members of the AIF landed on Gallipoli in Turkey with troops from New Zealand, Britain, and France. This specific event holds very strong significance within Australian history. The record has strong research potential. This is due to the ongoing public and scholarly interest in war, history, and especially the ANZAC legend, which is commemorated annually on 25 April, known as ANZAC Day.Black and white postcard printed on card.Reverse: BMM 2640 / POST CARD / KODAK / 5 CORRESPONDENCE / ADDRESS ONLY / AUSTRAL / AUSTRAL / KODAK / R. McGEEHAN, PHOTO, 57 ELM GROVE RIPPONLEA, / EXTRA COPIES & ENLARGEMENTS OBTAINABLE. /military album, military, war, world war i, wwi, australian imperial force, aif, rising sun, uniform, portrait

Photograph of "Marble Hall", Greensborough. The Marble Hotel, Greensborough was located at the corner of Main Street and Para Road. The first licensed hotel in Greensborough and one of the earliest brick buildings was built by James Chapman in the early 1850s as a hotel and lodging house to cater for wood carters and those trying their luck at the gold fields but served many functions over the years including post office, general store, public hall, butchers, bakers, surgery, private dwelling and baby health care centre. It got its name due to its white washed exterior. This photo is from the Lorraine Coates Collection.Photograph of early Greensborough building, now demolished.Digital copy of black and white photograph.marble hotel greensborough, james chapman, marble hall greensborough

A collar is the part of a shirt, dress, coat or blouse that fastens around or frames the neck and may be permanently attached to the main body of the garment (e.g. by stitching) or detachable. Names for specific styles of collars vary with the vagaries of fashion. In the 1930s and 1940s, especially, historical styles were adapted by fashion designers; thus the Victorian bertha collar, a cape-like collar fitted to a low scooping neckline, was adapted in the 1940s but generally attached to a V-neckline. This item is a type of shawl collar for a V-neckline that is extended to form lapels, often used to enhance cardigans, dinner jackets and women's blouses. A lady's, detachable, white, nylon machined ribbon lace shawl collar with lace trim C1950clothing, collars, ornamental collars, moorabbin, cheltenham, bentleigh, lacework, dressmaking, fashion, formal wear, shawl collar

The embroideries were machine chained onto colourful cotton sateen (often mistakenly thought to be silk) and usually bear the words 'Souvenir of Egypt' and a year date. Most have a distinctly Egyptian flavour and show the pyramids, camels or date palms. Others show images associated with different armies (such as the Australian Rising Sun Badge, New Zealand General Service Badge or British unit badges) or nations (such as the Australian coat of arms). However, during WW2 they were usually embroidered on black velveteen and the variety of images was not as great as had been available during the First World War. These types of souvenirs were very popular with Australian troops; they were easy to send home and were colourful. The vendors would have a number of designs for sale already machine embroidered, from which the soldier could select and then personalise with a date or message.Black and gold timber frame containing rectangular black cloth edged in light blue fringe. Machine embroidered on the cloth is image of rising sun badge with a camel and pyramids either side. Souvenir of Egypt 1941 Australian Commonwealth Military Forces1941, ww2, embroidered souvenir, egypt

This cream and green patterned vest is said to have been made for William Herbert Teal as part of his "trouseau" on the occasion of his marriage to Daisy Edith Davis on April 14th 1916 at St. Peter's Church, Merino, Victoria, Australia. It is a handmade waistcoat but it is not known who made it. William Teal was born in 1889 to Elijah Teal and Isabella Campbell Reid in Camperdown, Victoria and after marrying, William and Daisy also lived (and worked as farmers) in the Camperdown area. They had seven children. Daisy died in 1962 and William died in 1975. A wedding portrait of William and Daisy shows William wearing a dark suit consisting of a single breasted coat, trousers, good shoes, gloves and a shirt with a stiff, high collar, however if he is wearing this vest, it is unfortunately hidden under his coat. Although by 1916, men's "ready to wear" clothing were widely available, this waistcoat was handmade (possibly by his mother or sister or future wife) and has been preserved by his family for almost one hundred years. Men's suits in the early part of the twentieth century were predomininantly three piece, consisting of a jacket, vest ( or waistcoat) and trousers made from matching fabrics. On special occasions (such as a marriage) the groom might also wear gloves and have a flower in his buttonhole. Some men liked to wear a watch attached to their waistcoat with a fob chain.This item is of significance as a rare example of a man's vest that was made for a special occasion (William Teal's marriage in 1916) and preserved by his family for several generations.Man's handmade vest with a green and cream patterned brocade front, trimmed with green cord around the edges and featuring four inset pockets (also trimmed with the green cord). It has six buttonholes down the left front edge (plus a hand embroidered buttonhole to hold a fob chain) and six corresponding holes for shank buttons (which are missing) down the right front edge. The back and lining are made from cream cotton fabric. The back has a centre seam and a strap with a metal buckle with prongs (to allow for adjusting the length). The cream lining and back display some discolouration and brown marks.flagstaff hill maritime museum and village, great ocean road, warrnambool, camperdown, merino, teal family, william herbert teal, daisy teal, daisy davis, waistcoat, man's waistcoat, vest, wedding, handmade vest, wedding clothes

This waistcoat was made for Mr Alan Vinnell by the Fletcher Jones Man’s Shop in 1946 and was worn by Mr Vinnell at his wedding in Lang Lang on 27/4/1946 to Miss Madge Ridgway. Alan was the son of Albert Vinnell and Ada Rose Wood. He attended school in Macarthur about 40 kilometres northwest of Warrnambool. The Fletcher Jones Man’s Shop was located at the corner of Liebig and Koroit Streets in Warrnambool. David Fletcher Jones (1895-1977) served in World War One and in the 1920s set up as a travelling hawker selling drapery in Western Victoria. In 1924 he leased three shops in Liebig Street and in 1928 he moved to the Koroit/Liebig Streets intersection with his Man’s Shop. He manufactured men’s clothing on site. In 1931 a new set of two-storeyed buildings was erected on the site and Fletcher Jones moved into the building. In 1946 a Fletcher Jones shop was opened in Melbourne and in 1948 a factory was established in Raglan Parade, Warrnambool with a new company, Fletcher Jones and Staff established in 1951. This company became known Australia-wide, firstly for the production of men’s trousers, and later men’s and women’s clothing. By 2011 the Warrnambool factory was sold and the company dissolved. This waistcoat is of historical interest as an example of the high quality work produced at the Fletcher Jones Man’s Shop in Warrnambool in the mid 1940s. The Fletcher Jones business became one of the most important ones in Warrnambool in the 20th century and the early 21st century.This is a sleeveless woollen waistcoat made of blue striped material with a black cotton backing. The back has two black cotton flaps with a metal buckle to allow for the tightening of the coat across the back. The inside is lined with a cream, yellow and grey striped cotton material. The waistcoat has one inside pocket with a button enclosure and four outside pockets. The waistcoat has six black buttons on the outside and a maker’s label stitched on the inside. ‘Fletcher Jones The Man’s Shop Warrnambool Mr A. Vinnell Date 15/2/46’fletcher jones man’s shop warrnambool, history of warrnambool, albert vinnell, vinnell

INFANTRY DRILL 1893 BY AUTHORITY - Infantry Drill Training - BritishCover - hard cover, cardboard, leather - dark red with gold print on front and spine, with gold military coat of arms above print on front. Front embossed to frame print. Pages - 269 pages, cut, stippled edges, coloured light red, off white. Block print including front and back end papers. Illustrated - black and white diagrams and illustrations. Grey lead pencil annotations throughout the book. Contents Page. greylead pencil - " ......./D Coy/69th Battalion" Throughout the book - grey lead pencil - "X"book, infantry, drill, british

Tin contains large quantity of RAF, RAAF badges of rank. Trade badges. Buttons, brass & dark. Belt buckles plain brass, British coat of arms, darkened. Stored in a biscuit tin, rectangular shaped with corners flattened to make an octagonal. The lid has a still life scene of 6 tomatoes & a blue patterned, gold topped jug. Sides have a wavy mesh appearance of two tone blue.Printed in small black letters on lid near bottom edge: “Persimmons”numismatics-badges-military, containers - domestic, metalcraft, raf, raaf

The badge (on the right) is a Female Relatives Badge from the Second World War and the stars represent the number of serving individuals related to the holder of the badge. A number of the back appears in a register that records the name of the holder. .2) Three stars denotes 3 members of the family in the army in 1939 - 1945..1) Badge, brassround with 2 lugs on rear. Front has "War Worker Australia". Centre is coat of arms. On rear is "Navies & Labourers". Stamped numbered badge. .2) Female relative badge. Metal, silver colour, round shape with crown. wreath arrangement with map of Australia centre. Rear has pin attached. Attached by two small chains is a clasp with 3 small bronze stars. Rear of badge is stamped..1) :"Issued by the department of defence, 618. .2) Front "To the Women of Australia" Rear "Issued by the C/Weath Govt. A6800badages, medallions, female, relative, war workers

Blue and white soft cover book of 55 pages and a cd-rom of financial statements. Contents include: Robert R.T. Smith, David Battersby, mission and goals, National Centre For Sustainability, Dennis Olmstead, David Suzuki, Shenzhen Polytechnic, Wang Qiang, Kwong Lee Dow, Caroline Taylor, John Murray, Martin Westbrook, Opening of the Sir Albert Coates Complex, Steve Bracks. .3) Financial Statementsuniversity of ballarat, mount helen, robert h.t. smith, david battersby, david suzuki, kwong lee dow, rowena coutts, rajni tung, lindsay wilkinson, russell lloyd, john mcclure, e.j. barker, winsome barker, dawn whitehand, ray woodrup, terry lloyd, steve bracks, barbara webb

George V Coronation Medallion: Inner circle has coat of arms with two ladies leaning on a banner with kangaroo holding a crown on top of banner with an inscription above VICTORIA. Underneath inscribed in a ribbon is 'PEACE & PROSPERITY' Outer circle inscribed 'TO COMMEMORATE THEIR MAJESTIES CORONATION JUNE 22 * 1911' One the back is a picture of the King and Queen in ceremonial dress with the inscription 'KING GEORGE V QUEEN MARY' Box 625.numismatics, medals - commemorative, george v coronation. commemorative medal.

White card with gold printing, list of Toasts for City of Sandhurst Banquet in Honor of His Excellency the Governor and Lady Loch's visit to Sandhurst to open the Juvenile & Industrial Exhibition on the 17th November, 1886, at Shamrock Hotel. Front of card has City of Sandhurst Coat of Arms and lower down, a vase of flowers sitting on pavement. Inside is the List of Toasts and on the back is the name of the Mayor and printer. Banquet was held on the 17th November, 1886.document, invitations, junvanile and industrial exhibition, card, city of sandhurst banquet, his excellency the governor and lady loch, cr sterry, cr harkness, cr joseph, mr bailes, captain kirby, major blackham, major palliser, cr connelly, mr dunstan, cr mcgowan, cr weddell, cr carolin, p hayes esq, w holmes

Blue and white photocopy of photograph taken outside of group of fourteen men, in front of brick building with six sash windows. All men wear hats, some carry folded umbrellas, some wear frock coats, most wear three piece suits. Large rock in foreground. Rails on L background. At L background is shield with spats, and under 'one and all' ( Cornish Symbol). Mounted on white board.person, group, males

Harry Biggs Collection. Two black & white photos: View Point Butchery. Square brick building with iron roofed veranda. In the foreground are four men standing - one with a bike, another wearing a butcher's apron. One man is wearing a bowler hat & suit. One man wearing waist coat & bowler hat. There are also two men squatting in front of a tin fence at the side. See record 2400.168.place, building, commercial, harry biggs collection, view point butchery

Certificate for Legion of Honor Melbourne Hospital for Sick Children presented to Miss Tilly McCormack of Knowsley, buff coloured paper with borders of green & brown. Showing Hospital Scenees, a Red Cross, Angels, Floral Decorations and Coat of Arms, mounted under glass and framed with a black wooden frame with gold edges and brass corner pieces, markings read 'No 85 December 23rd 1900', 'Aunt Connie Weekly Times'organization, government, health, legion of honor, melbourne hospital, tilly mccormack

This is a German made figurine, attributed to Jaschke Pretzl. Loosely translated, the label text on the figurine says 'Neurologist' and 'Out! They're getting on my nerves!'. Stamp printed on underside of base says that this is a hand-carved figure.Carved wooden figurine. Depicts a man in a white coat, red tie, and glasses, standing with his hands at his side. He has a receding hairline, and a mohawk-like hair style. The figure is atop a small wooden base, one side of which carries handwriting that reads 'Nervenarzt/Raus! Sie gehen mir/auf die Nerven!' The underside of the plinth is printed with a stamp that reads 'Handgeschnitzte/Pretxl/Figur'. 'Nervenarzt/Raus! Sie gehen mir/auf die Nerven!'/'Handgeschnitzte/Pretxl/Figur'obstetrics

This paperweight was created as part of the Golden Jubilee celebrations for SOGC (Society of Obstetricians and Gynaecologists of Canada) in 1994.Marble paperweight in the shape of a rounded square. Front of paperweight is engraved with a head and shoulders image of two Inuit figures, possibly a mother a child, wearing one coat between them and peering out of the same hood. The paperweight is signed by the artist at bottom right of front of paperweight. Back of paperweight is engraved with the text 'SOGC/1944-1994'. Bottom right of back of paperweight is signed by the artist, alongside the engraved words 'Quebec/Canada'.

GOLD CIRCULAR MEDAL WITH SEMICIRCULAR BANNER ON WHICH IS WRITTEN "AUSTRALIAN COMFORTS FUND, BALLARAT". BELOW THIS IS THE COAT OF ARMS OF AUSTRALIA : FROM L TO R : UPRIGHT KANGAROO HOLDING A SHIELD ON WHICH ARE 1. THE EUREKA FLAG .2 THE SOUTHERN CROSS .3 CROSS .4 BIRD .5 SWAN & STARS .6 LION AN EMU HOLDS THE OTHER SIDE OF THE SHIELD. UNDERNEATH IS A RIFLE, UNDER THIS IS A BANNER WITH READS TRENCH SHOP 1918 FRONT - AUSTRALIA COMFORTS FUND, BALLARAT BACK - TRENCH SHOP, 1918local history, numismatic, medals, military

Worn as part of her trousseau by Rosalie Whalen on her honeymoon after her wedding on 1st June 1966 at St Andrews Presbyterian Church, Gardiner, Vic.|Bought at a shop at the top of Collins Street 'The Paris End'.Rosalie is the great great grand-daughter of Johann August Schwerkolt, pioneer of Mitcham.1. 1966 white sleeveless batiste nightgown with salmon pink silk Rouleau ties on shoulders. The armholes and neckline are edged with the salmon silk. 2. The elbow-length sleeved coat has a gathered neckline edged with salmon pink Rouleau and tied at the opening (which does not have any fastenings). The sleeves are raglan with elastic casing and decorated with a salmon pink bow. See also wedding dress NA4579 and hat NA4597.costume, female nightwear

Medallion was minted to commemorate the 60th anniversary of the end of World War IIRound gold coloured medallion commemorating the 60th anniversary of the end of World War II. The front has a stylised map of Australia with 'World War II 60 years 1945-2005'. The back has the Australian Coat of Arms with 'World War II Service of Australia. The Medallion is contained in a black box with '60th anniversary of the end of World War II'. 'For Service to Australia'. A small brochure from The Royal Australian Mint.as above. On Box Australian Government - Department of Veterans' Affairs.military history, army

A wooden racquet, featuring a decal of the Slazenger coat-of-arms, on both sides of throat. Inscription, from head to stem, on obverse: KEN ROSEWALL/SIGNATURE/SLAZENGER. Inscription along right side of stem: MADE EXPRESSLY FOR SEARS ROEBUCK CO. Butt cover: CERTIFIED/&/APPROVED/BY/TED WILLIAMS/FOR/ACTIVE AMERICANS. Materials: Wood, Adhesive tape, Nylon, Metal, Glue, Lacquer, Leather, Ink, Ribbon, Plastic, Stringtennis

A colour lithograph issued by the Salon de la Mode, featuring two women wearing high fashion of the late 19th century, posing next to a tennis court net. The woman on the left is holding a racquet. Below is the image of a coat-of-arms, with the monogram 'HVP', which is that of the director of the Salon de la Mode, Henry Petit. One of the engravers is identified as 'Lefranco'. Materials: Paper, Ink, Cardboard, Metal, Paint, Wood, Glasstennis

Commissioned by the Caulfield City Council to mark the occasion of the Centenary of the City of Caulfield, October - 1957.Small commemorative book with cream coloured cover. The words "City of Caulfield" are embossed in brown ink on the top of the cover. The original City of Caulfield Coat of Arms is embossed in brown ink in the centre of the front cover. The words "Centenary 1857 - 1957" are embossed in brown ink at the bottom of the cover. The interior pages are cream coloured and are not numbered. The text and images are in black and white. The book shows evidence of being used as library book throughout.caulfield, centenary, 1857-1957, city of caulfield, glen eira city council

Green painted cylindrical lawn mower with rear roller, pull start and no catcher. Regal coat of arms on front housing signifying maker is official motor mower supplier to the Queen. Rectangular petrol tank mounted between the handles above the engine. Small wooden roller in two parts on front. Pale grey plastic cover on starter mechanism. Height adjustment on front roller. Engine controls on right handle.Possibly "Eureka" model.machinery, cylinder motor mower

John Ash succeeded Thomas Harrison as the Australian Note Printer in 1927 and oversaw the printing of a new series of banknotes, known as the Ash Series. First issued between 1933 and 1934, the new banknotes sought to improve the currency's resistance to counterfeiting. A special watermark was created to increase the security of the new series. Shaped as a medallion, the watermark showed the profile of Edward, the Prince of Wales. A new portrait of the King was also introduced, depicting him frontally rather than in profile as he had appeared in the prior banknotes of the Harrison Series (1923-1925). The back of each denomination contained an individual vignette that reflected a sector of the country's economy. The wool and agricultural industries were represented, as they had been in the first series of the nation's banknotes (1913-1914), and they were joined by manufacturing and commerce. The prominent British sculptor, Paul Montford, contributed to the design of the new series. Recognised for his sculptural works on the exterior of Melbourne's Shrine of Remembrance, Montford was commissioned to produce relief sculptures that formed the basis of the banknotes' vignettes. His sculptures were translated into wash drawings by Frank Manley, the artist and engraver for the Commonwealth Bank's Note Printing Branch. Manley accentuated the sculpture's three-dimensional qualities with deep shadows and touches of illusionism. A sheep in Montford's pastoral scene, for example, stands forward from the frame as if entering the viewer's space to escape branding and Manley preserves this visual conceit in his drawing. Whereas the printing of the previous series of Australian banknotes had been criticised for its poor definition, the sculptural basis of the Ash Series clarified the banknotes' imagery. During a period of record unemployment, the scenes emphasised the strength of the human figure in gestures of labour, evoking classical, heroic qualities in their poses. The sculptural forms suggested stability in the turbulence of the Great Depression and imparted a sense of solidity to paper currency. - museum.rba.gov.auCommonwealth of Australia paper one pound note in green and white tones depicting graphics and text. The obverse has a framed design with a blank portal to the left and King George VI in the right portal. The centre shows the Australian Coat of Arms, serial number, and detail over one pound symbol on a mosaic background, with signatories below. The reverse features a framed pastoral scene with farmers tending sheep, with a blank portal to the right.Obverse: ONE / 1 / 1 / ONE / COMMONWEALTH OF AUSTRALIA / K / 58 / 790230 / K / 58 / 790230 / This Note is legal tender for / ONE POUND / in the Commonwealth and in all / Territories under the control of the / Commonwealth. / [signature] / GOVERNOR / COMMONWEALTH BANK ON AUSTRALIA / [signature] / SECRETARY TO THE TREASURY Reverse: 1 /1 / 1 / 1 / PASTORALcurrency, money, pound note, pastoral scene, industry, commonwealth of australia, paul montford, king george vi, frank manly, john ash

John Ash succeeded Thomas Harrison as the Australian Note Printer in 1927 and oversaw the printing of a new series of banknotes, known as the Ash Series. First issued between 1933 and 1934, the new banknotes sought to improve the currency's resistance to counterfeiting. A special watermark was created to increase the security of the new series. Shaped as a medallion, the watermark showed the profile of Edward, the Prince of Wales. A new portrait of the King was also introduced, depicting him frontally rather than in profile as he had appeared in the prior banknotes of the Harrison Series (1923-1925). The back of each denomination contained an individual vignette that reflected a sector of the country's economy. The wool and agricultural industries were represented, as they had been in the first series of the nation's banknotes (1913-1914), and they were joined by manufacturing and commerce. The prominent British sculptor, Paul Montford, contributed to the design of the new series. Recognised for his sculptural works on the exterior of Melbourne's Shrine of Remembrance, Montford was commissioned to produce relief sculptures that formed the basis of the banknotes' vignettes. His sculptures were translated into wash drawings by Frank Manley, the artist and engraver for the Commonwealth Bank's Note Printing Branch. Manley accentuated the sculpture's three-dimensional qualities with deep shadows and touches of illusionism. A sheep in Montford's pastoral scene, for example, stands forward from the frame as if entering the viewer's space to escape branding and Manley preserves this visual conceit in his drawing. Whereas the printing of the previous series of Australian banknotes had been criticised for its poor definition, the sculptural basis of the Ash Series clarified the banknotes' imagery. During a period of record unemployment, the scenes emphasised the strength of the human figure in gestures of labour, evoking classical, heroic qualities in their poses. The sculptural forms suggested stability in the turbulence of the Great Depression and imparted a sense of solidity to paper currency. - museum.rba.gov.auCommonwealth of Australia paper one pound note in green and white tones depicting graphics and text. The obverse has a framed design with a blank portal to the left and King George VI in the right portal. The centre shows the Australian Coat of Arms, serial number, and detail over one pound symbol on a mosaic background, with signatories below. The reverse features a framed pastoral scene with farmers tending sheep, with a blank portal to the right.Obverse: ONE / 1 / 1 / ONE / COMMONWEALTH OF AUSTRALIA / K / 58 / 790230 / K / 58 / 790230 / This Note is legal tender for / ONE POUND / in the Commonwealth and in all / Territories under the control of the / Commonwealth. / [signature] / GOVERNOR / COMMONWEALTH BANK ON AUSTRALIA / [signature] / SECRETARY TO THE TREASURY Reverse: 1 /1 / 1 / 1 / PASTORALcurrency, money, pound note, pastoral scene, industry, commonwealth of australia, paul montford, king george vi, frank manly, john ash