Clothing. Infant's white cotton gown with long sleeves. Round neck with casing for cotton tape ties. 2cm lace trim around neck. Back opening (18cm). Gathered at back from neckline. Front has pintucks from neckline to broiderie lace band at waist (15cm X 2.8cm). Gathered below band. Cotton fabric ties (66cm) attached to either side of waist band.Centre front of bodice has vertical lace insert (10cm X 2.8cm) from neck to waist. Ties and sleeves trimmed with 1cm lace. French seams. Machine stitched. Old box 230.costume, children's, infant's gown

1. "Drive (After) from P.R.I" Feb 67. 2-5. Students learning how to use a machine in the Orchard, 6, 7.Former Nursery, 8. Garden view. Mar 67. 9-14. Emily Gibson beds. Jun 67. 15, 19,26, 27. Plant Research Institute. "June.5.1967" 16, 17. Pruning Day 1`967. 18.Unidentified development on Campus Jul 67. 20. "Nangiloc - Fixed Sprinkler Rock Melons" Oct 67. 22. Yarra River.24. Former Rose garden (now Herbaceous Border.) 28-35 Wilson's Promontory.students, machine, garden views, campus, entrance, plant research institute, old rose garden, nursery, nangiloc, fixed sprinkler, rock melons, wilson's promontory, seed testing station, pruning day, emily gibson beds

Newspaper cutting - The Age, 1/6/1998 - pages 9-13 - with two stories about the phasing out of tram conductors - with sub-heading "The trams are still running but conductors have taken their last ride. Will Melbourne ever be the same again?" - "Once were connies" - written by Lyall Johnson - about the conductors no longer on tramcars and what would happen in the future and some of the issues. - "End of the Line" - written by John Elder - has stories about travelling on the tram network. - Letter to the Editor - page 13 - "Life without conductors" - particularly about the ticket machines and inspectors. Written by Bernard Sheppard of Middle Park.trams, tramways, conductors, ptc, one man trams, public transport, tickets, stories, metcard, letter to the editor

Book - green Rexene covers, 106 pages with title - "Melbourne and Metropolitan Tramways Board - Rules and Regulations". Six sections, sewn into covers, dated Nov. 1974. Provides rules for both tramway and motor bus operations, has index pages 3 to 28, rules for both systems and specific type of vehicle, ticket machines and ticket issuing. At rear is MMTB By-Law 11, dated 1956. Second copy added 15-6-2015 - from Ron Scholten donation of 11-4-2015 Full scan of document (difficult to do a proper scan) added 29/5/2019.In blue ink on front cover, "page 31", page 52 in black ink, reference to page 91 and on page 33, rule 20 has been partly high lighted in yellow.trams, tramways, mmtb, rules, regulations

Probably 1890's to early 1900's. The Dress and Mantle Makers departments was part of F. Davey and Co. and the department was run by Miss Middleton, formerly of the Beehive. F Davey and Co. sold their View Point premises in Oct 1904.Cream coloured silk wedding dress with train. Three flat panels at front and side, lined with polished cotton. Centre tightly gathered panel at centre back lined with stiffened cotton.Other panels lined with stiffened cotton above hemline of skirt. Double layer lace insert inside lower edge to hemline. Back opening with four hook and eye fasteners. Deep pocket on side seam at hip on RHS. Three back panels extended below hemline of skirt to form squared edge train. Two hanging tapes inside waist band. Skirt hand and machine stitched. Matching bodice 11400.314.Label stitched inside skirt waistband - ''F.Davey & Co Dress & Mantle makers, View Point, Sandhurst.costume, female, wedding dress skirt

Wodonga Water Tower was officially opened on 4th December 1924 to store water for the town of Wodonga. Due to increased consumption demands and the construction of a large reservoir, the Water Tower was decommissioned in 1959. It stood unused until the lower section was modified and put to use as Water Tower Shoe Repairs, better known as “Cobbler’s Inn” in 1961. Albert (Bert) Green and his wife Gwen opened a shoe repair business, Water Tower Shoe Repairs, at the base of the Wodonga water tower in 1961. Gwen added a florist shop which operated for some years In 1979 Ron Turton took over the Cobbler’s Inn in partnership with his brother-in-law Len Freyer. Len entered the trade as an apprentice with Quinn's Bootmakers of Wodonga at the age of 14 and later worked with Mr. Green. Ron’s son, Justin also joined the business and took over from his father in 2018. The Cobbler’s Inn was closed in 2024.This item is significant because it was displayed outside a well-known and unique Wodonga Business for approximately 60 years.A collection of images which tell some of the story of the Cobbler's Inn in Wodonga. 1. Cobbler's Inn Sign 2. Albert Green, the first Cobbler's Inn Cobbler 3. Cobbler's Inn at base of Wodonga Water Tower 4. Cobbler's Inn sign & doorway Wodonga 5. Justin and Ron Turton. Ron and his partner Len Freyer, took over from Albert Green. Justin worked with him and later took over the business. 6. Justin & Ron Turton with original sewing machine 7. Inside the Cobbler's Inn 8. Empty shop space inside Wodonga Water Tower March 2025Cobbler's Inncobbler's inn wodonga, wodonga water tower, water tower shoe repairs

This business was owned by father and son, Henry Archibald Wilkinson and Samuel Ronald "Ron" Wilkinson. Henry (1882-1954) was born in Shepparton and died in Bendigo. He was married to Grace Hovendon in 1908. Samuel Ronald "Ron" (1914-1995), Henry's son, was married to Florence Jean McKerlie in 1937.Contract of sale of land dated 26th September, 1955 between Mrs. I. Forster (seller) and Mrs. E.V. Raff (buyer) for land being lot 2 on plan of subdivision No.3905 lodged at the office of titles being part of Crown allotment 8 section 8 portion B described in certificate of title volume 4045 folio 961 situate No. 142 Myrtle Street, Bendigo. Together with right of carriage way over land at rear of property with weatherboard dwelling and all sundry, also all floor coverings, blinds, curtains, electric light fittings and shades and 'Pope' washing machine. Price 3,200 pounds.organization, business, h.a. & s.r wilkinson real estate

The making of cordials and aerated waters was an important industry in Warrnambool from the time of the first settlement up to the 1980s. John Fletcher succeeded John Davis in Koroit Street in 1885 and manufactured aerated waters, soda, lithia, tonic waters, lemonade, ginger ale, hop beer, hop bitters, sarsparilla and cordials. He installed many improvements around the late 1880's including an improved soda water machine which was also used for bottling lemonade, ginger ale and syphons. He sold to Ralph Reeves in 1930 and the business continued until the 1980's under the name of Reeves. The premises in Koroit St were auctioned in 1989.Warrnambool cordial bottles are of considerable significance as examples of an important local industry now gone. The Fletcher business was a well-known business in Warrnambool for 45 years.Round bottle with raised lettering in glass and indented sections on top section of bottle with marble enclosed. Clear greenish glass.J Fletcher’s Aerated waters Koroit Street Warrnambool vertically on bottle with lemonade horizontally on the other side. M on bottom of bottle.warrnambool,fletcher's aerated waters, fletcher's cordial , cordial bottle,

The Morse telegraph system had its beginnings in 1836 when Samuel Morse, Alfred Vail and Joseph Henry developed an early model of the system. There are a number of variations on the machine but the operating system is very similar in all and the language is a standardised international code which has been in operation since the 1860's. Morse code consists of five elements, dots, dashes, and gaps of one , three and seven units in length. It is still in use to this day and has been applied to other systems of communication such as amateur radio, mobile phones and communication systems for disabled people. This particular telegraph key possibly has post office or naval origins.Morse code was an important invention in world communication systems and this machine therefore has important social and research significance. It is useful as an interpretive item.This instrument sits on a black rectangular base of black bakelite. The mechanism ids held in place by three larger metal screws and two smaller ones on the upright section from the base.The movable part is metal with the attached handle a similar black material as the base.ADMY.PATT No 7681 KEY MORSE SERN PL 23780 Rocker Front contact. Lift @ turn on one of the screws on the bar.history of warrnambool, rocker telegraph, telegraph key, morse code

Published in the Bendigonian 18th May 1916. J.H. McCOLL believed to be James Hiers McCOLL father of Lieut. Hugh McCOLL, C Coy 38th Battalion AIF. Pre war Hugh McColl spent 11 years in the junior and senior cadets and then 1 year as a Commissioned Officer in the local 67th Batt. He enlisted in the AIF with the rank of 2nd Lieut on 1.3.1916 aged 27 years 4 months. Embarked for England on 20.6.1916 and then France in November 1916. WIA on 12.10.1917 with concussion, hospital 7.4.1918 with sprained ankle, KIA by machine gun fire on 12.8.1918 during an advance near Proyart. There was a possibility he was awarded the Military Cross but this needs investigating.The Bendigo 38th Battalion Poem. A printed written copy. Seven verses. Two pages.documents - poetry, military history - army, 38th

Cigarette or Rolling papers are small sheets, rolls, or leaves of pre-cut paper made from wood pulp, hemp, flax, or rice straw which are sold for rolling cigarettes either by hand or with a rolling machine. When rolling a cigarette, one fills the rolling paper with tobacco. PROV - The West Richmond heritage overlay - The smaller former Australian Automatic Cigarette Paper Company factory at no.103-05 Hoddle Street Richmond, also retains original Moderne detailing, which includes 'Boomerang' in Art Deco script set vertically within the piers at either end of the building. 'Boomerang' was the brand of the cigarette papers manufactured by the company until 1948. A packet of 'Boomerang' precut cigarette papers Top: 60 LEAVES / BOOMERANG/ RICE / STAINLESS CIGARETTE PAPER/ Back:: 1/3 / 60 LEAVES / BOOMERANG / RICE / AUTOMATIC GUMMED / MADE IN AUSTRALIA . Inside packet: AUSTRALIAN AUTOMATIC CIGARETTE / PAPER CO. PTY. LTD. / MELBOURNEmelbourne, early settlers, market gardeners, moorabbin, bentleigh, cheltenham, cigarette papers, tobacco, boomerang papers, australian automatic cigarette paper co. pty.ltd.

A toothpick is a small stick of wood, plastic, bamboo, metal, bone or other substance used to remove detritus from the teeth, usually after a meal. A toothpick usually has one or two sharp ends to insert between teeth. They can come in both wood and plastic, and can also be used for picking up small appetizers (like cheese cubes or olives) or as a cocktail stick. Toothpicks are well known in all cultures. Before the toothbrush was invented, teeth were cleaned with hard and soft dental woods. The first toothpick-manufacturing machine was developed in 1869, by Marc Signorello. Another was patented in 1872, by Silas Noble and J. P. Cooley A small paper packet containing wooden toothpicksTRADE $ MARK / DOLLAR BRAND / STERILIZED / TOOTHPICKS / (chinese characters) / MADE OF BEST / WHITE BIRCH / QUALITY & PURITY / GUARANTEED / TRY ONCE USE / THEM FOREVER. wood, toothpicks, dental cleaning, dentists, timber, birch trees, signorello marc, noble silas, cooley j. p. , moorabbin bentleigh cheltenham, maret gardeners, early settlers,

A dowel is a cylindrical rod, usually made of wood. In its original manufactured form, a dowel is called a dowel rod. Dowel rods are often cut into short lengths called dowel pins.These are commonly used as structural reinforcements in cabinet making and in joining large timbers together. To make a dowel, a piece of wood is split or whittled to a size slightly bigger than desired and to place the stock into a vice then rotate past a fixed knife, or alternatively, to rotate the knife around the stock such as the subject tool was used. Machines based on this principle emerged in the 19th century. Frequently, these are small bench-mounted tools, prior to this time dowels had to be cut by hand. The tool is an example of early to late 19th century hand tool used to make timber dowels. It is not associated with an historical event, person or place, makers provenance is unable to be determined at this time. Many small American and British tool manufactures were taken over by Stanley tools after 1843 when the company was established and this item could have been made by one of these. However the subject item appears to be rare and would be regarded as a collector's item.An adjustable woodworking tool know as a Moot, used for making Trunnels or Treenails (Dowels) for fastening joints in timber. Noneflagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, moot, trunnels, treenails, circular, dowels, woodworking tool

This nail was recovered from the wreck of the Cataraqui in the 1970s. The nail is most likely to have been machine cut and the head hand formed by a blacksmith. THE CATARAQUI The Cataraqui, which was built in 1840 in Quebec, Canada, and wrecked in 1845 off King Island, Australia. The lives of 400 people on the emigrant ship were lost. Many of them were on government assisted passages from Britain and Ireland. Only nine people, one passenger and eight crew, survived the shipwreck. A man who lived on the island, sheltered them and five weeks later the group was rescued by the ship Midge, which took them to Melbourne. It was the largest civilian maritime disaster. The nail is significant as an example of the hardware used in the mid-19th century for ship building. The nail is also significant for its association with the 1840 Canadian built ship, Cataraqui, The Cataraqui is significant in maritime history as the largest civilian maritime disaster.Copper nail, four sided shank, flattened tip with rounded end, pitted and rough, concretion on the shank. The nail is bent. Recovered from the wreck of the 1840-1845 "Cataraqui". flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, nail, copper nail, ship nail, cataraqui ship, ship hardware, canadian ship, 1840 ship, migrant ship, emigrant ship, assisted passage, king island, midge

Comprehensive and brief account of the Eureka rebellion and the story of the flag of the Southern Cross. Includes photographs of various artistic representations that are held in the Ballarat Fine Art Gallery. Written for the 150th anniversary of the Eureka Stockade. Contents: Machine derived contents note: Eureka Timeline and Personalities 6 Eureka Revisited: the contest of memories 9 Anne Beggs Sunter The Eureka Flag and its champions 23 History of the Flag 24 Holy Relics - the puzzle of the pieces 35 Design and making of the Eureka Flag 38 Symbols and Legend 40 Artistic interpretations 40 Films 44 Writing and dramatising the legend 47 Songs and Musicals 49 The living tradition of protest 50.Relevant to the history of Ballarat, gold mining, Ballarat Reform League and the Eureka Rebellion.Book; 56 pages; pictorial. Front cover: white background; colour painting, "Pioneer", by Sally Smart; blue and gold text; title.btlc, ballarat trades hall, lalor, peter, humffray, john, eureka stockade, eureka stockade - anniversary, eureka flag, southern cross flag, art and history, ballarat reform league, history - ballarat, ballarat trades and labour council, art, australian - 19th century - exhibitions

This dress belonged to Mrs Lillias Parker (nee Johnston, 1820-1904). Born in England, Lillias was married in London in 1844 to Samson Parker (c. 1820-1886). The couple lived in Bendigo, Victoria for much of their lives, with Samson first arriving around 1853 and establishing a business with Samuel Macord as tent makers and fruiterers. He later had a successful business as a hat and cap manufacturer and a sewing machine agent. Lillias' obituary suggests that she was one of the first women settlers to live in Bendigo and noted her reputation for philanthropy and her interest in the welfare of the blind and vision impaired, having herself experienced loss of sight many years before.Two piece day dress of mulberry figured silk. The dress comprises a separate bodice (.1) and skirt (.2). The bodice fastens centre front with fabric covered shank buttons and has twelve bones encased along the interior seams and darts. Two piece fitted sleeve and high stand collar. Bodice is backed with a caramel coloured printed cotton. The skirt has a slight train and is backed with a caramel coloured twill-woven cotton. lillias parker, 1890s, bendigo, goldfields

Articles in annual report include: Interest free loans up to $3000 per person were available. In 1979-1980 360 blind people and their families benefitted under this scheme and this means that $250 000 of institute funds are kept in circulation. The aids and equipment shop, introduced Kurzweil reading machine - one of the foremost organisations in the world to provide such equipment to blind people. Some years ago Mrs Cecelia Tye left her property at Romsey, now 6 buildings are used as an educational camp and two will be used for self-contained accommodation. The new building will start and finish by end 1980 and the new holiday house at Barwon Heads was opened.1 volume of text and illustrationsroyal victorian institute for the blind, corporation records

Articles include the death of R. Bigwood, a committee member for 40 years and former Vice President, Sir Rohan Delacombe (Patron) launched the library's first Open Day, large print and Moon books are becoming more in demand, four Tellatouch machines have been ordered, a sample tape recorder has been received from England, an electric Braille typewriter has been acquired, Mrs Weir has left the flat but Mr and Mrs Hood are now keeping an eye on the garden and building, Perkins Braillers are in high demand, a new auxiliary has been established in Altona, and Christmas card sales were higher than previous.32 pages of text with drawingsbraille library of victoria, corporation records

Example of a Braille magazine imported from the United States for readers in Australia. Better Homes and Gardens was produced by the National Library Service in Braille and exported to Braille libraries around the world. Magazines were costly to produce in-house, as they often held timely information that were not as relevant to the reader by the time that the transcription and embossing process was finished, and each issues required the process to be restarted each time a print issue was created. Working from the magazine itself, rather than an electronic file, and with no automated process yet developed, this issue in 1974 would have been scribed by hand and manually checked before being sent to the large embossing and binding machines for distribution. 1 Braille volume of Better Homes and Gardens magazineBetter Homes and Gardens February 1974 Part IIIbraille library of victoria, braille books

Seed broadcaster were used to distribute seed across a small area or to fill in patches where seeding has been missed. This method does not ensure a uniform distribution of seeds unless the person using the machine walks at a very measured pace. It also requires a lot of time and manual labour if used in larger areas. It was most used for planting cover crops, grains, grasses and similar plants that do not need to be in neat rows. The hand-crank broadcast seed spreader was invented in 1868 by Samuel S. Speicher (aka. Spyker) in Indiana, USA. By 1955 new developments included the invention of a seed broadcaster on wheels and these smaller spreaders started to disappear.This item is representative of agricultural machinery used on a local, national and international level in the late 19th and early 20th century.A metal hand seed broadcaster. A hopper at the top was the receptacle for seed. The wheel with a handle on the side when turned drives the cogs attached to an axle. This action rotates the attached spindle with blades to propel seed out the front of the broadcaster. The broadcaster would have had a shoulder strap and a bag of seed would have been added to the hopper and secured with twine through the holes around the top.agricultural tools, farm machinery

Semak is an Australian company, manufacturing Australian-Made equipment for the Foodservice Industry. It was established in 1948. The most famous Semak appliance is the 'Vitamizer'. Designed in 1948 it quickly became the standard for blending. An updated version was relaunched in 2012. The Semak vitamiser was advertised as a wonder machine which every housewife should have.Advertising claimed that the Semak could whip cream, grind coffee, blend jam, makes soups and sauces, makes cakes, sandwich spreads, ice-cream, special diets, puree fruit drinks, supper snacks, mayonnaise and dessert. It sold for £21. Demonstrations were conducted in electrical stores across the nation. A recipe book and full instructions for operation was included.This item is representative of a popular Australian-made kitchen appliance used across the country. A food vitamiser in 2 sections. Top section is detachable for cleaning. Has electrical cord attached.Surrounding power control: Semak Vitamiser Under base: CAT No. S2/ 230 - 25 V / 240W / 40 - 60kitchen appliances, food vitamisers, semak industries

The Mission hosted several shows from The Melbourne Fringe Festival: The Passion of Pauline: a live documentary - Billiard Room (2-20 Oct.) Murder In The Chapel, A Murder Village Improvised Whodunnit - St Peter Chapel (3-6 Oct.) Angellis Taliuu, Tectonic - Norla Dome (10-13 Oct.) Roadblocks - Billiard Room (10-13 Oct.) Spark - Norla Dome (10-13 Oct.) I Got Bit By A Monkey Once - Billiard Room (10-20 Oct.) Matt Harvey - Wage Against The Machine- Billiard Room (10-20 Oct.) Motus in Morte - Norla Dome (16-20 Oct.)melbourne fringe festival, 2024, venues, cultural events

SERVICE RECORDS OF WILLIAM McINTYRE SERVICE NO 376 PLACE OF BIRTH PORT MELBOURNE VICTORIA DATE OF BIRTH 27/07/1886 DATE OF ENLISTMENT 17/06/1916 PLACE LIVING ON ENLISTMENT BET BET VICTORIA RANK ON ENLISTMENT PRIVATE UNIT NAME MACHINE GUN COMPANY 2REINFORCEMENT5 AWM EMBARKATION ROLL NO 24/7/3 EMBARKATION DETAILS UNIT EMBARKED AT MELBOURNE PER HMAT A73 COMMONWEALTH ON 17/09/1917 FATE KILLED IN ACTION 26 SEPTEMBER1917 PLACE OF BURIAL NO KNOWN GRAVE COMMEMORATION DETAILS THE YPRES [ MENIN GATE ] MEMORIAL [ PANIAL 17 ] BELGIUM PANEL NUMBER ROLL OF HONOUR AUSTRALIAN WAR MEMORIAL

Example of a Braille magazine imported from the United States for readers in Australia. Playboy was produced by the National Library Service in Braille and exported to Braille libraries around the world. Magazines were costly to produce in-house, as they often held timely information that were not as relevant to the reader by the time that the transcription and embossing process was finished, and each issues required the process to be restarted each time a print issue was created. Working from the magazine itself, rather than an electronic file, and with no automated process yet developed, this issue in 1974 would have been scribed by hand and manually checked before being sent to the large embossing and binding machines for distribution. 1 Braille volume of Playboy magazinePlayboy - entertainment for men, August 1974, Volume 21, No 8, Part IVbraille library of victoria, braille books

Kathryn Knitwear, founded by Robert Blake, manufactured high quality children’s knitwear in Melbourne from the 1940s – 1980s. Robert Blake began manufacturing children’s knitwear in his bedroom in Strathmore using a hand powered machine in the late 1940s. The operation moved to Ascot Vale and Essendon, before eventually establishing a factory in Moonee Ponds in the early 1950s. The business continued to expand, necessitating a move to a new factory in Broadmeadows. By 1962, the Broadmeadows factory was producing an average of 20,000 garments per month, which increased to 24,000 by 1964. Robert Blake’s Son, Brendan recalls that “The Kathryn brand was famous around Australia, anywhere children needed to keep warm and dress smartly. It also won a number of wool fashion awards”, including the 1969 Wool Awards, which was held by the Australian Wool Bureau and published in Women’s Weekly. The Kathryn range was designed for durability, comfort and care, without sacrificing style. They used patterning techniques that increase stretchiness, comfort and fit, as well as integrating decorative elements into the fabric to prevent them from being bulky, uncomfortable or tight. Making longevity of style a priority, Brendan Blake remembers that “there was one particular garment that was in the range for at least thirty years”. He also recalls “In the past, when women have found out that I was associated with Kathryn Knitwear, they would often relate to me the story of a garment they had purchased or received as a gift and, when their child had grown out of it, they would hand it on to another child. Several ladies have told me of purchasing garments for their daughters’ glory box, or saving a particular garment after their daughter had grown out of it. Brendan Blake: “At the peak of their operation they employed approximately two hundred people, mainly women and girls. A family would often seek to send their daughter to work in this company because they knew they would be looked after and safe. One lady wrote to me telling me that working at the Moonee Ponds Factory prior to getting married was the happiest time of her life.” In 1963, workers at the Kathryn factory earned £13 per week, which was 8 shillings and 8 pence higher than the minimum weekly wage for female workers in the textile manufacturing industry (£12 11s 4d). By 1970, the Kathryn Knitwear brand expanded from children’s knitwear into womenswear under the brand name ‘Lady Kathryn’, and for boys and men under ‘Robert Blake’. Continuing to diversify their distribution, they also began exporting ‘Kathryn’ garments to New Zealand, the Pacific Islands, and Japan. ‘Kathryn Knitwear’ was well-known for their early adoption of modern materials and techniques that had broad appeal to their customer base. This is shown in their early use of the acrylic fibre ‘Orlon’ in the 50s and 60s and ‘Superwash’ wool in the 1970s. Many of Kathryn Knitwear’s styles, particularly those that were long running staples of the brand, were available in both wool and Orlon to suit the consumer’s preference. Wool has been renowned for its excellent properties for thousands of years, by people from all over the world. Not only good for thick winter woollens, it can help keep you cool in summer, as well as being durable and resistant to water, fire, ultraviolet light, stains and odour. Far from the humble origins of one man in his bedroom with a hand-cranked machine; at its closure in 1980, the Broadmeadows factory of ‘Kathryn’ housed more than 100 machines, including 53 sewing machines and 45 knitting machines. Robert Blake was “a passionate advocate for wool and Australian Made” throughout his whole life. A strong thread that ties through the lifespan of Robert Blake and Kathryn Knitwear is a balance between adopting new innovations without sacrificing the core values of durability, comfort, care and style that had made the brand so well known. Their legacy forms an integral part of both Australian social and manufacturing history.Red children's wool jumper with green and white geometric tartan/plaid pattern on front. Has long sleeves with ribbed cuffs and ribbed crew neck and closes with four red plastic buttons at back neck. Coloured pattern is worked in lines on top of finished fabric in surface crochet in pattern of green, white, green[white label at back neck with blue stitching] ALL WOOLknitwear, clothing, children's clothing, jumper, manufacturing, fashion textile production, machine knitting

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

Kathryn Knitwear, founded by Robert Blake, manufactured high quality children’s knitwear in Melbourne from the 1940s – 1980s. Robert Blake began manufacturing children’s knitwear in his bedroom in Strathmore using a hand powered machine in the late 1940s. The operation moved to Ascot Vale and Essendon, before eventually establishing a factory in Moonee Ponds in the early 1950s. The business continued to expand, necessitating a move to a new factory in Broadmeadows. By 1962, the Broadmeadows factory was producing an average of 20,000 garments per month, which increased to 24,000 by 1964. Robert Blake’s Son, Brendan recalls that “The Kathryn brand was famous around Australia, anywhere children needed to keep warm and dress smartly. It also won a number of wool fashion awards”, including the 1969 Wool Awards, which was held by the Australian Wool Bureau and published in Women’s Weekly. The Kathryn range was designed for durability, comfort and care, without sacrificing style. They used patterning techniques that increase stretchiness, comfort and fit, as well as integrating decorative elements into the fabric to prevent them from being bulky, uncomfortable or tight. Making longevity of style a priority, Brendan Blake remembers that “there was one particular garment that was in the range for at least thirty years”. He also recalls “In the past, when women have found out that I was associated with Kathryn Knitwear, they would often relate to me the story of a garment they had purchased or received as a gift and, when their child had grown out of it, they would hand it on to another child. Several ladies have told me of purchasing garments for their daughters’ glory box, or saving a particular garment after their daughter had grown out of it. Brendan Blake: “At the peak of their operation they employed approximately two hundred people, mainly women and girls. A family would often seek to send their daughter to work in this company because they knew they would be looked after and safe. One lady wrote to me telling me that working at the Moonee Ponds Factory prior to getting married was the happiest time of her life.” In 1963, workers at the Kathryn factory earned £13 per week, which was 8 shillings and 8 pence higher than the minimum weekly wage for female workers in the textile manufacturing industry (£12 11s 4d). By 1970, the Kathryn Knitwear brand expanded from children’s knitwear into womenswear under the brand name ‘Lady Kathryn’, and for boys and men under ‘Robert Blake’. Continuing to diversify their distribution, they also began exporting ‘Kathryn’ garments to New Zealand, the Pacific Islands, and Japan. ‘Kathryn Knitwear’ was well-known for their early adoption of modern materials and techniques that had broad appeal to their customer base. This is shown in their early use of the acrylic fibre ‘Orlon’ in the 50s and 60s and ‘Superwash’ wool in the 1970s. Many of Kathryn Knitwear’s styles, particularly those that were long running staples of the brand, were available in both wool and Orlon to suit the consumer’s preference. Wool has been renowned for its excellent properties for thousands of years, by people from all over the world. Not only good for thick winter woollens, it can help keep you cool in summer, as well as being durable and resistant to water, fire, ultraviolet light, stains and odour. Far from the humble origins of one man in his bedroom with a hand-cranked machine; at its closure in 1980, the Broadmeadows factory of ‘Kathryn’ housed more than 100 machines, including 53 sewing machines and 45 knitting machines. Robert Blake was “a passionate advocate for wool and Australian Made” throughout his whole life. A strong thread that ties through the lifespan of Robert Blake and Kathryn Knitwear is a balance between adopting new innovations without sacrificing the core values of durability, comfort, care and style that had made the brand so well known. Their legacy forms an integral part of both Australian social and manufacturing history.Brown and Grey children’s jacket with brown accents at pockets and shoulder, centre front zip, curved pocket detail.Style B/117, Colourway Woodgrain/Pebble, Size 8 .2) Sample tags stapled together with manufacturing information, including sizes and colours available, as well as knit swatch samples for colourways Green/Silver, Burgundy/Denim, Navy/Denim, and Rust/Pebble.1) [white label at back neck with green and black printed writing] ROBERT BLAKE Size 8 / knitwear HEIGHT 130cm MADE IN AUSTRALIA .2 [blue sample label] STYLE B/117 Jacket. Zip. Birdseye. Wool. SIZES: 2 4 6 8 10 PRICE: $11.75 [amended to $12.80 in blue pen] $13.85 [amended to $15.05 in blue pen] SIZES: 12 14 PRICE: [printed] $14.95 [amended to $16.15 in blue pen] COLORS: Woodgrain/Pebble Green/Silver [drawn through in black pen] Burgundy/Denim, Navy/Denim, Rust/Pebble Dec on Del. [cream brand label] [OBVERSE] ROBERT BLAKE [REVERSE] ROBERT BLAKE KNITWEAR MELBOURNE, AUSTRALIAknitwear, clothing, children's clothing, jumper, manufacturing, fashion textile production, machine knitting, children's knitwear

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. The decoration on this garment was embroidered by hand by a skilled worker at the Kathryn Knitwear factory. ‘Kathryn Knitwear’ was well-known for their early adoption of modern materials and techniques that had broad appeal to their customer base. This is shown in their early use of the acrylic fibre ‘Orlon’ in the 50s and 60s and ‘Superwash’ wool in the 1970s. Many of Kathryn Knitwear’s styles, particularly those that were long running staples of the brand, were available in both wool and Orlon to suit the consumer’s preference. Wool has been renowned for its excellent properties for thousands of years, by people from all over the world. Not only good for thick winter woollens, it can help keep you cool in summer, as well as being durable and resistant to water, fire, ultraviolet light, stains and odour. Far from the humble origins of one man in his bedroom with a hand-cranked machine; at its closure in 1980, the Broadmeadows factory of ‘Kathryn’ housed more than 100 machines, including 53 sewing machines and 45 knitting machines. Robert Blake was “a passionate advocate for wool and Australian Made” throughout his whole life. A strong thread that ties through the lifespan of Robert Blake and Kathryn Knitwear is a balance between adopting new innovations without sacrificing the core values of durability, comfort, care and style that had made the brand so well known. Their legacy forms an integral part of both Australian social and manufacturing history.Grey children’s cardigan with embroidered flowers and human figures in folk costume, and crocheted design around neck in green, yellow and red. Left panel has embroidered figure of man with blue lederhosen and yellow shirt, black shoes and hat, hat has red accent. Right front panel depicts woman wearing red skirt with white stripe, white shirt, and green headscarf with black stockings and shoes. Flowers are embroidered in pink, white and blue with green and yellow accents for stems and flower centres. Cardigan closes in front with five marbled grey plastic buttons[Label at back neck with blue lettering woven into label] KATHRYN REGD / 22 ALL WOOL CREATED BY ROBERT BLAKEchildren's knitwear, knitwear, clothing, children's clothing, cardigan, manufacturing, fashion textile production, machine knitting, embroidery, embroiderer, folk art, folk embroidery

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. Cotton is a common material for knitwear worn in the warmer months, as it is very breathable and absorbs moisture easily. While we mostly associate knitwear with keeping us warm in the cold, the market for Australian knitwear would be very limited without options to wear all year round. 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.Royal blue double breasted cardigan 'Reefer Jacket' with short sleeves in a textured rib stitch with six chrome metal buttons in two rows down centre front. Style 319/J .2 is sample tag with manufacturing information, including sizes and colours available.1) [white label at back neck with blue stitching] KATHRYN REGD. CREATED BY ALL COTTON / 24 / ROBERT BLAKE .2) [sample label] [OBVERSE] STYLE: 319/J – Reefer Jacket – Combed Cot. SIZE: 22” 24” 26” 28” 30” 32” PRICE: 20/- 21/- 22/6 24/- 26/- 27/6 COLOR: NAVY ONLY. [REVERSE] KATHRYN Garments are • PRE-SHRUNK • STANDARD MEASUREMENTS • FIT EXACTLY • LAUNDER PERFECTLY Designed and Manufactured by ROBERT BLAKE, MELBOURNEknitwear, children's knitwear, clothing, children's clothing, cardigan, manufacturing, fashion textile production, machine knitting, fashion cotton