The Fashion & Design collection of Kew Historical Society includes examples of women’s, men’s, children’s and infants' clothing from the 18th, 19th and 20th centuries. While the collection includes some examples of international fashion, most items were handmade or purchased in Melbourne. White cotton apron decorated with machine embroidery and appliqué. The apron is a commercially created item produced in China for the European market. clothing - women's, aprons, fashion & design collection - kew historical society, protective wear, fashion design, fashion -- 1960s

One of a group of items including lace and crochet collars and pelerines, a jabot, a chid's dress and a wedding dress donated by KHS member, Kathryn (Kate) Gwynne Reeve (nee Marx) that belonged to members of her family. Tape lace is either a hand made (with a bobbin) or a machine woven tape. The tape is folded into the required design and then fixed and embellished with connecting lace or embroidery stitches of various kinds.Tape lace collar. L 17 cm / W 39 cm / Circumference 98 cmaccessories, tape lace, lace collars

An item forming part of a collection of costumes, photographs and documents relating to the Weir family who lived in a mansion, originally named Illapa, at 84 Princess Street, Kew, from c.1917 to 1950. This historically significant collection includes items relating to both George Weir (1866-1937), his wife Edith Mary Weir (1867-1948) and their children. George Weir attained national prominence in the mining industry, becoming General Manager of the North Broken Hill Silver Mining Company in 1903 (later renamed North Broken Hill Mining Company 1905-12, and North Broken Hill Ltd 1912-1988), and subsequently President of the Mine Owners Association. He was to remain General Manager of North Broken Hill Ltd until his retirement in 1926. This garment is part of a collection of women’s clothing, owned and worn by Edith Mary Weir (nee Betteridge) - born in Clare, South Australia 1867, died Kew 1948 - and also by her daughter. The garments date from the 1880s to the 1930s. The collection includes day dresses, evening dresses, evening coats, capes, and undergarments. As the wife and daughter of a mine manager, the collection includes representative examples of clothing worn by upper middle class Australian women in domestic circumstances, and at social and civic events. A number of the costumes from the 1920s to the 1930s are of a particularly fine quality, being both rare, representative and intact examples of Australian fashion of the period. The garments in the Weir Collection were donated to the Kew Historical Society by a granddaughter of Edith Weir in 2017.Long black single piece crepe de chine and valenciennes lace dinner dress. The dress has a high squared neckline. The sleeves are elbow length. The most significant aspect of the design are the layers of machine-made valenciennes lace that extend from the waist.edith mary weir (nee betteridge), illapa -- 84 princess street -- kew (vic.), women's clothing, weir collection, dresses, fashion -- 1920s

The Fashion & Design collection of the Kew Historical Society includes examples of women’s, men’s, children’s and infants’ clothing from the 18th, 19th and 20th centuries. Items in the collection were largely produced for, or purchased by women in Melbourne, and includes examples of outerwear, protective wear, nightwear, underwear and costume accessories. This dress was worn by Kew resident Lilian Cohen.The McIntyre Collection of clothing and clothing accessories forms one of the largest single donations to our Fashion & Design collection. It includes clothing and clothing accessories worn by four women in the Cohen and McIntyre families across three generations. The items worn by Melbourne architect, and Kew resident, Dione McIntyre date from the 1960s and 1970s, and include evening wear, day wear, hats and shoes. As Dione McIntyre often accompanied her husband, fellow architect Peter McIntyre, to formal events, there are a number of pieces of evening wear among the items. The McIntyre Collection also includes items worn by women of an earlier generation: by Lilian Cohen, Dione McIntyre's mother, and by her mother-in-law, the wife of the architect Robert McIntyre. At the other end of the chronological spectrum are a number of outfits belonging to, worn and donated by Annie McIntyre. These include outfits created by notable late 20th century Australian and/or international fashion designers. The McIntyre Collection is significant historically and artistically as it includes examples of design that demonstrate changing tastes in fashion over an 80-year period. The collection is also significant in that it includes the work of a large number of Melbourne designers from the 1960s to the 1980s. Cream-coloured drop waisted handmade dress, using machine made lace and added lace trim. The dress is missing its underdress.women's clothing, australian fashion - 1930s, lace dressses, mcintyre collection

"Grace Blake’s conversations with older members of the Club have elicited the following information during July 2014: • Don Christie recalls the machine being acquired by (or donated to) SMRC in the 1960s. SMRC later donated it to APRC. • Bob Duncan remembers it being at APRC. • Max Shaw joined the club in 1946 but doesn’t recall it at all. • Peter Watson recalls collecting the rowing machine from the old APRC club house before its demolition (c. 1995). The AP-SMRC machine carries a ‘maker’s plate’ with the name Moore... Moore Crane and Engineering Company Pty Ltd was a subsidiary of Malcolm Moore Industries Ltd whose manufacturing engineering works were located on Williamstown Road, Port Melbourne from 1927. The founder established the main business in 1921 and retired in 1953.21 The business was delisted from the Australian Stock Exchange in 1976. Grace Blake advises that some of the earlier SMRC members were plumbers and therefore worked in trades connected with engineering. She reports that Peter Watson recalls some of his contemporaries completing their engineering apprenticeships at Malcolm Moore Industries Ltd in the 1970s. There are still many unanswered questions concerning the history and provenance of the rowing machine at the time of writing this report, but the connection with a local engineering works is certainly fascinating. Questions to explore in the future include: Did Moore manufacture the machine, or import it (and perhaps assemble it) under licence? Was this machine a ‘one-off’ or did Moore make / distribute others within Australia? When, why and how did SMRC acquire the machine? Why did SMRC decide not to retain it, but to pass it over to APRC? And how did APRC use it?" 2014 Significance Assessment, pp38-40. "The ‘Moore’ Rowing Machine at the Albert Park – South Melbourne Rowing Club (AP- SMRC) is a rare example in Australia of the Kerns patent design from 1900. This machine may not, however, be that old in construction or use. The AP-SMRC machine is almost intact, appearing to lack only the leather straps for fastening the rower’s feet to the foot-rests. Spalding manufactured the design in the USA in the early decades of the 20th century, but the metal elements in its models are traditionally black. The bright red paint on the AP-SMRC machine suggests something different. The AP-SMRC machine carries a maker’s plate that associates it directly with a local engineering business, Malcolm Moore Industries Ltd of Williamstown Road, Port Melbourne. Club members recall the machine being at the South Melbourne Rowing Club in the 1960s, and being transferred at a later date to the Albert Park Rowing Club. The machine has not been used since the founding of the amalgamated AP-SMRC and requires careful conservation. The ‘Moore’ rowing machine is of national research significance as a rare survivor, in Australia, of the well-regarded Kerns patent design that was popularised by Spalding in the northern hemisphere. The English River and Rowing Museum website quotes a testimonial from an AG Spalding & Bros’ Mail Order Catalogue: ‘This machine was described by ‘an experienced oarsman’ ... “to be the most perfect rowing machine ever produced”. A feature was the adjustment of the resistance so “the weaker sex can use the machine”’. Its historic significance lies in its rarity (and perhaps uniqueness) as an aid to the training of rowers at two successful clubs on Albert Park Lake. Additional historic significance lies in the connection that the rowing machine represents between local rowing clubs and a major local manufacturing engineer. The ‘Moore’ rowing machine bridges the realms of innovation and application, of industry and recreation, of land-based and aquatic sports, and of two neighbouring rowing clubs on the Albert Park Lake." 2014 Significance Assessment, p43"A rowing machine that appears to be built to the Kerns patent design from 1900 but may not be that old in construction or use. The machine is heavy and includes parts made from cast iron. The cast iron components are painted in a distinctive bright red. The wooden seat moves on timber slides. Resistance is created by spring mechanisms at the ends of two frame elements that connect with two wooden ‘oars’, and by the central chain-driven system that co-ordinates with the rower’s movements. The machine carries a maker’s plate with the single word ‘Moore’ in an oval design, using white letters against a navy background, fastened to the base board and close to the foot-rests." 2014 Significance Assessment, p38Moorerowing, apsm rowing club, significance assessment, malcolm moore industries ltd, kerns, 1900, sculling machine, albert park rowing club, south melbourne rowing club, albert park lake, rowing machine, ergo

Uniforms for the 1992 Barcelona Olympic Games were designed by Wendy Powitt in conjunction with the AWC. Doug Pleasance, donor of these items, worked for the AWC and closely with Wendy Powitt, obtaining these uniform examples. About the Olympic Uniforms Doug wrote- 1. The Official Uniform which was used for travel and all official functions. This included: a tailored blazer and trouser/skirt (all water repellent) by Fletcher Jones, pure wool olive-green faille fabric by Foster Valley, cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, printed wool tie by T D Noone, wool nylon socks by Holeproof and footwear by Hush Puppy. 2. Opening Ceremony Uniform a lightweight wool fabric printed with floral designs that had been inspired by the work of Australian artist Margaret Preston. This included: Lightweight W/PE shorts by Fletcher Jones in Foster Valley Fabric, socks by Holeproof and footwear by Hush Puppy. 3. Village Clothing was designed to be highly visible garments to make it easy to spot the Aussie and helped to contribute to good team spirit. This included: A pure wool shirt featuring blocks of contrasting colours, and a newly developed stretch 50:50 wool/cotton fabric by Bradmill was made into shorts and jeans by Fletcher Jones.8142.1 - Olive green long wool/nylon blend socks without packaging. 8142.2 - Olive green long wool/nylon blend socks in packaging.8142.2 - On packaging- "Shoe size Kingsize11-14." "Wool Rich Blend." "HOLEPROOF HEROES" "Help put Australia back on its feet." On reverse of packaging- "If every Australian bought just two pairs of Holeproof Heroes we could help save our wool industry and put this country back on its feet." "Made in Australia." "CARE INSTRUCTIONS. warm machine wash. Wash and dry inside out. Wash dark colours separately. Do not bleach. Warm tumble dry. Dry without delay. 60% Wool 40% Nylon." Separate sticker label- "HOLEPROOF HEROES. Summer Winter Wool."1992 barcelona olympics, sport, athletes, fashion, design, uniform

Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future). The circle and diamond pattern are ancient symbols used by Wadawurrung people dating pre-colonisation on possum skin and kangaroo skin cloaks, other artefacts like spear heads (carved), wooden shields, stone tools and caves were painted with blood, ochre and bound with grass tree sap, black wattle tree sap and kangaroo fats. The diamond pattern was a strong design used by men on shields and women on baskets and adornments. Shields were taken from the tree in the colder months when the tree was cold as the wood came off cleaner. Ochre colours of red, white, yellow and charcoal were often used to colour in and decorate the skin side of possum skin cloaks, wooden shields, spear heads, baskets and some coolamon bowls.The design for this cloak has been simplified from the original artefact design.Cloak with black and white diamond and circle design on outer cloak and coral and white line pattern within lining. Trimming is solid black. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, wadawurrung, first nations, cloak

Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future). The colours of this cloak refer to natural pink ochre and indigenous flowering plants on Wadawurrung Dja. The pink ochre is sourced by Deanne Gilson at Black Hill in Ballarat, Victoria. Men also made woven dilly bags to hold their possessions in. The basket making was an ongoing aspect of daily life for Wadawurrung people and often done in cooler months when the weather was too bad to go outside. Many women and family groups had their own style and techniques that were traded amongst other groups. Wadawurrung women had a particular stitch they used and incorporated elaborate symbols into the basket designs. Tammy Gilson’s weaving represents this stitch. This cloak pays homage to them and the changing seasons as they created, particularly the cooler months leading into the warmer season when several gum blossom flower. This cloak was worn once by artist Deanne Gilson at a formal opening at the Art Gallery of Ballarat in 2022. A Welcome to Country ceremony was performed while wearing it.Pink native flower in baskets motif on a pink background on outer cloak, pink and white diamond and circle design in lining. Solid black trimming. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, wadawurrung dja, first nations art

Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future). The black swan cloak refers to the black swan of Geelong and Ballarat were the swan has had its own fight to survive during the early colonial years where white swans were introduced by colonisers and the black swan fought back as they do not naturally get along. The wave pattern is taken from a traditional shield pattern held in the Melbourne Museum, South Eastern archive collection of shields. The wave refers to the water and travelling across water to fish, hunt and survive. This cloak is about survival, water, and the swan living on the water. It also refers to a contemporary dance of Kunuwarra the black swan, which was performed by a group Wadawurrung women (including artist Deanne Gilson) for Tanderrum (Melbourne – Naarm) in 2016. The dance is available to watch on youtube.Black swan, heart motif with water design on outer cloak, female figure and red native flower design on lining. Solid black trimming. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, first nations art, wadawurrung dja

Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future).The sacred banksia tree was a favourite for Wadawurrung people. Flowering before deep Winter, the banksia was used for spear making and other wooden tools. The sap was drunk as a sweet drink and the seed pods used for water straining and fire sticks. The banksia tree flowers at the time when fire sticks farming is practiced marking the days before the coldest days and nights and the hotter days.White, orange, and yellow banksia design on outer cloak, yellow and white circle and diamond design in lining. Solid black trimming. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, wadawurrung dja, first nations art, cloak

Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future. The white ochre was used to create the feather pattern. White ochre is deeply connected to spirit or ‘murrup’ as we call it in language. The ochre is used on our bodies in ceremonies to paint our body up and is also placed on graves when someone passes. The white ochre is our most sacred connection to our ancestors and is used to celebrate both life and death. I source the white ochre from the You Yangs and only take what I need for ceremony and my painting.White and black feather motif with yellow eye design on outer clock, brown feather motif in lining. Solid black trimming. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, wadawurrung dja, first nations art, cloak

Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future). Bunjil the eagle used to be a man called Karringalabil. As a man he created the first man and woman out of bark from the sacred manna gum tree and clay from the river bed. He created the plants, animals, mountains, waterways, sky and under Country. After which he turned himself into an eagle. He has two wives, Kunuwarra the black swan sisters. After he completed all of creation he flew up into the sky at Lal Lal Falls and he now watched over us as a star in the night sky and as an eagle by day.Brown, red and white tone feather motif with yellow eye design on outer clock, red and black diamond and circle design in lining. Solid black trimming. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, wadawurrung dja, first nations art, cloak

Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future). Waa the Crow Totem Cloak (Waa represents our ancestors watching over us). Waa and all the birds get their names by the sounds the bird makes.Blue feather motif with blue star background on outer clock, blue and black feather design in lining. Solid black trimming. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, wadawurrung dja, first nations art, cloak

Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future. The murnong was one of the main food sources for First Peoples before colonisation as it grew right across Wadawurrung Dja. The introduction of the sheep and cattle saw the murnong eaten roots and all and it quickly became less plentiful. The tubers were eaten raw or roasted on a fire. Water could be added to make a paste for small children to eat. The woman’s wooden digging stick that was used to gather and harvest plants was often buried with the woman for her afterlife and is considered sacred women’s knowledge. All parts of the plants and trees were and still are honoured as sacred medicine, healing plants and bush food knowledge.Yellow flower and female figure motif on black background on outer cloak, black and white diamond, and circle design in lining. Solid black trimming. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, wadawurrung dja, first nations art, cloak, murnong

Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future). This cloak represents a traditional shield and stands for strength, resilience and standing proud. It protects us as we move forward. The gold represents the gold fields of Ballarat and Golden Plains shire. It also represents fool’s gold (pyrite) as First People had no use of gold, instead the people are the gold.Black, white, and red stripe design with flower and stem motif on outer cloak. Lining is a red and white stripe motif. Trimming is solid black. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, wadawurrung dja, first nations art, cloak, murnong

Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future). Deanne states that this is her favourite season and she loves painting the small orchids as they flower after the cold season begins to clear.Black cloak with pink and purple toned flower motif on outer cloak, purple and black diamond, and circle design in lining. Solid black trimming. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, wadawurrung dja, first nations art, cloak, murnong

Artist Alison Withers work DIY Deluge Design No. 5 was awarded Expressions: The Wool Quilt Acquisitive Award in 2023. Works were received from across Australasia and internationally from some of quilting’s most highly regarded and awarded artists. Finalists work was displayed at Art Quilt Australia 2023 presented by Ozquilt Network and the National Wool Museum from 12 August to 12 November 2023. Artist Statement: It's clear we need to adapt the anatomy of our human spaces to become more resilient to the increasingly unavoidable impacts of climate change. Made by piecing, applique and free machine stitching, using industrial felt, hand dyed merino felt, woollen suiting, cotton fabric, wool theatre curtain backing and cotton and polyester thread.Rectangular portrait orientated art quilt depicting an environmental scene including boats, lights, elevated buildings, plants and birds on a background of shades of cream, blue and grey. A baton is sewn into the back at the bottom.Back: DIY Deluge Design No.5 / Alison Withersquilt, ozquilt network, prize, wool, art, felt, piecing, applique

John Gartner was a fine printer and publisher, an author, a noted philatelist, and also collector of Australian banknotes and coins. He was born on 16 July 1914 and was largely self-educated, leaving school at fourteen for work following the death of his father. Gartner developed a strong interest in the history of typography and printing and was apprenticed at the Advocate where his father had been a linotype operator. Aged 17, Gartner bought a hand press and some fonts of type, and in 1937 acquired a platen press from which he set and printed his private press books, published under the imprint of The Hawthorn Press. Gartner had a strong collection of Australian bookplates. He also looked at the work of artists overseas and commissioned personal plates. He subsequently built an international collection with preference for artists who printed from wood. His initial searches were in Belgium and Holland.(http://www3.slv.vic.gov.au/latrobejournal/issue/latrobe-84/t1-g-t7.html) A black and white printing machine is pictured with large sheets of paper in the background.Signature with the number 494australian bookplate design award, keith wingrove memorial trust, bookplates, printmaking

Alfred Wayne & Co. produced a number of braille writers over the years, including The Visible. Alfred Wayne (1854-1926) was listed as a 'manufacturer of small novelties in metal and steel' in the 1901, however by the 1911 census he had turned his company into a 'manufacturer of apparatus for use of the blind'. Together with Henry Stainsbury, they produced a number of braille typewriters as well as the more well know crab design of the Stainsby-Wayne brailler.Cast iron Brailler. The body of the Braille writer is painted in black with silver and gold painted inscriptions. Seven metal oval keys are situated at the front of the machine. The roller for turning the paper is made from turned wood.Marked: Painted on front of machine: "The visible/manufactured by/Alfred Wayne/Handsworth/Brimingham. Englandbraille equipment, assistive devices

A 'Brunsviga' adding Machine used to educate people who were blind or vision impaired in arithmetic during in the early 1900s. The firm Grimme, Natalis & Co (GNC) was established in 1871 to build sewing machines and domestic appliances at Braunschweig (Brunswick) in Germany. In 1892 engineer Franz Trinks was instrumental in securing the manufacturing rights to the Odhner calculator patents. The first machines were built according to W.T. Odhner's 1890 design, and were distributed under the brand name "Brunsviga". Trinks continued to develop and refine the Brunsviga calculator over a period of almost 30 years. The brass rotor disks are 71mm in diameter, with the nine setting levers spaced on 9mm centres. The moving carriage has 10 places in the counter register and 18 in the accumulator, but the tens-carry mechanism only covers 10 of the 18 places. The carriage is positioned manually by releasing a latch and moving the assembly by hand to the required position. The registers are cleared by a full turn of the large wing nuts on either end. The mechanism is very basic, with no safety interlocks and no added features.Metal machine on wooden base.Brunsviga Patent Braunschweigoffice equipment and supplies, royal victorian institute for the blind

A small, writer for note paper or index cards, designed by an East German company production started in 1980 and continued in the former DDR until 1989.Metal braille machine with red base and 7 white wood keysMechanische Werkstatt fur Blindenhilfsmittel der DDR 7033 Liepzig Burgauenstrabe 9braille equipment, picht

A talking book player that allowed the user to change the tone and speed of cassettes played in it. Designed to handle both 4 track and 2 track cassettes, these players were the perfect solution to having both commercial (2 track) and recordings for the blind (4 track) materials without needing separate players. Tonal changes in particular were sometimes required by older listeners, as aging reduces the ability to distinguish high pitch sounds. Speed variability also allowed those who read faster to increase narration, and to slow down reading patterns for listeners with acquired brain injury or other conditions that affected cognitive processing of language.Blue plastic rectangular talking book player with buttons for navigational controls and 5 buttons.Model tbci serial no 8017. Machine number: 8157audio equipment, royal victorian institute for the blind

The first tape based talking book machine from the late 1950s, produced by Clarke & Smith, that allowed the listener to hear up to 20 hours of recordings. Although bulky (each tape cartridge alone weighed over 2 kgs), the MK1 was the first magnetic, multi-track tape produced and considered quite novel for it's time. The cartridge designed to be played on the Clarke & Smith MK1 Talking Book player came in it's own separate container. Each cartridge houses the complete mechanism, track change linkages, replay heads and tape spools, which are stacked on top of each other within the housing. When one track was finished, the user was required to lift the metal cassette, turn it over, and replace it on the turntable. The bulky cartridges were distributed by post or train in strong 'Globite' cases made with reinforced corners and strapped. The costs associated with talking book players were high and individuals/groups/service clubs were asked to sponsor a machine to help those who could not afford to buy or rent one. In this example, a plate attached to the lid indicates who raised the funds: "This talking book/is presented to you/by Tallimba Branch/ of CWA of NSW." Please note: despite images, there are no cartridges with this model.Metal talking book machine housed in a brown wooden carry case. There are two plastic knobs on the front facing right hand side, and an electric cord extending from the back of the case. To the left of the knobs is a speaker grille. Also includes talking book cartridge 'The darling buds of May'.audio equipment, clarke and smith

Wanting to improve upon the limitations of existing Braillers, the Perkins School for the Blind resolved to develop a new machine that would produce uniformity in embossing, was lightweight and was easy to use. By the 1940's, David Abrahams (a teacher at the school) had developed his prototype, but manufacturing restrictions created by World War 2 halted proceedings. In the waiting period, students at the school used the prototype and Abrahams perfected his device. During the post-war era, Howe Press agreed to take on production of the Perkins Brailler and it became of the most popular and commonly used Braillers around the world since it's commercial release in 1951. Also included is a booklet of photocopied instructions with honeycomb binding.Metal Braille writer with nine grey keys, carriage return key and paper rollers on either side, with grey vinyl cover, and photocopied instruction booklet.'Perkins Brailler' embossed on front of machine and in silver on cover. Sticker on top of machine reads "This equipment remains the property of Braille and Talking Book Library 31-51 Commercial Road, South Yarra 3141 Phone: (03) 267 6022." Metal plate attached to front below keys "Designed by David Abraham, Manufactured and Distributed by Howe Memorial Press, Perkins School for the Blind, Watertown, Mass. U.S.A." Stamped on base of front: G0345braille equipment, perkins school for the blind

In 1934, the Victorian Association of Braille Writers annual report advised that it had acquired a Crabb-Hulme Braille Printing Press. Two years in development, the Press was invented by Miss Minnie Crabbe (the librarian) and built to her specifications by Mr Hulme. Designed to produce ephemeral material quickly, such as programs, catalogues and newsletters, and provided more opportunities for information to be quickly sent out to Braille readers.Steel and cast iron printing press with two wheels on left hand side and two foot levers to operate a wheel on the right hand side.victorian association of braille writers, minnie crabbe, braille equipment

The first tape based talking book machine from the late 1950s, produced by Clarke & Smith, that allowed the listener to hear up to 20 hours of recordings. Although bulky (each tape cartridge alone weighed over 2 kgs), the MK1 was the first magnetic, multi-track tape produced and considered quite novel for it's time. The cartridge designed to be played on the Clarke & Smith Model12 Talking Book gramophone was designed to house the pick up mechanism (the phono cartridge which contains the stylus) in the lid, so that visually impaired people could just close the lid to play the record. Initially these players designed to handle only 24 rpm, but soon added 33 rpm and 16 rpm options via the dial located on the left hand corner of the disk base. Directions for using as well as reminders to use on alternating current only are located inside the lid. On the side of the player are two plastic dials: one for turning on and volume, the other for tone.Metal record player housed in a brown wooden carry case, with a speaker grill in the front, two plastic dials on the side and an electric cord extending from the back of the case.Manufactured for Nuffield Talking Book Libraryaudio equipment, clarke and smith

Annual report of the Association for the Advancement of the Blind outlined activities and events over the year, including an increase of membership to 150, the unfortunate illness of Mr Holgate, that attendance at meetings has improved due to the possible transfer of them into the city, the Secretary is now paid for their work due to the amount required, a number of goods designed for the blind have been imported by the Association from England and are being sold, some of which (the embossed music) has formed the beginning of a small music braille library, instruction in light handicrafts in the homes of the blind is continuing and now includes a knitting machine, concerts are still being undertaken with the focus on publicity for the Association and covering performing fees rather than as a fundraiser, and there are plans to create a fund scheme for sick workers.1 volume of printed material with some illustrationsassociation for the advancement of the blind, annual reports

The item is a representative example of previously standard issue uniform and is in excellent condition. As a set alongside 0040.2, the uniform has aesthetic significance in its design, incorporating the Disruptive Pattern style of camouflage which has its roots in the 1980s and continues to be adapted into uniform design by the Defence Force.Field shirt in disruptive pattern colours of green, khaki and browns. Long sleeve with five buttons up the front, two chest pockets with button-down flap pockets. Both sleeves are reinforced from the elbow down to the cuff; cuffs are fastened with a single plastic button. Above the right chest pocket is a patch with embroidered inscription in black thread on disruptive pattern backing. Shirt also features plain epaulette's on both shoulders, fastened by plastic button. Manufacturer's label on interior reads "ADI P/L/VICTORIA/1989/[broad arrow]/8415.66.130.0033/SIZE. 100R/NAME/SERVICE NO./MACHINE WASHABLE/DRIP DRY ONLY/DO NOT IRON/DO NOT STARCH/DO NOT BLEACH" Patch above chest pocket reads "PARKER"camouflage, uniform, australian defence force, disruptive pattern

Portable sewing machine, on a wooden base with a removable wooden lid. Inlaid design of gold decals on the lid.Wertheim Portable Sewing Machine (Frankfurt) Serial Number 6511471sewing machines