Mr Walter Sessford Cornhill was born in c1886 in Orsett, Essex; died 2 September 1940 and buried in Box Hill Cemetery (B-069-0028). He was a carpenter. He married Rhoda Fraser (1882-1947). A son John Edmund was a plumber. Daughter Lillian married Charles Frederick Barrow. Walter Cornhill moved from 3 Essex Road to 316 Canterbury Road some tome after 1937. The house passed to Charles Frederick Barrow and wife Lillian and subsequently to Leonard Clement Gangell and his wife Pamela Gangell, nee Barrow.A black and white photograph of an early modern style house built on a corner block. It is built of brick. The upper portion of the house is rendered with occasional brickwork patterning. A low brick fence borders both street frontages.canterbury road, essex road, 1940, early modern style, mr walter sessford cornhill, mrs rhoda cornhill, miss rhoda fraser, mr john edmund cornhill, miss lillian cornhill, mr charles frederick barrow, mrs lillian barrow

This glass slide captures a scene from a male hospital ward at Mayday Hills Mental Asylum. Also known as the Beechworth Lunatic Asylum, Mayday Hills was officially opened on the twenty-fourth of October 1867 and was commissioned following lobbying from Beechworth Municipal Council concerning a need for better living conditions for individuals confined to the town's gaol. These individuals, as well as many others who were brought from surrounding institutions, exhibited behaviours that were deemed to be unfit for mainstream society. At its peak, the asylum consisted of sixty-seven buildings and housed over twelve-hundred patients and five-hundred staff. At the time of Australian Federation in 1901 - just a year after this photograph was taken - the patient population numbered six-hundred and seventy-four. The asylum was officially closed in 1996. It is listed on the Victorian Heritage Register as being architecturally significant. The extensive complex of buildings are examples of Italianate-style, which is strongly associated with asylums of the 1860s - the period in which construction of this particular asylum began. Today the asylum offers tours to visitors, including daytime history tours and night-time ghost tours. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This glass slide is socially and historically significant as it is representative of the lives of the nurses and patients at Beechworth Mayday Hills Asylum in the early twentieth century. It is also historically significant as it is representative of the changing style of treatments and attitudes towards mental illness. Thin translucent sheet of glass with a circular image printed on the front and framed in a black backing. It is held together by metal strips to secure the edges of the slide.Obverse: h /lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, mayday hills, mayday hills hospital, mayday hills asylum, beechworth lunatic asylum, beechworth mental asylum, psychiatric hostpital, beechworth, burke museum, beechworth municipal council, beechworth patients, psychiatric patients, victorian heritage register, 1900, 1900 mayday hills, italianate style, 19th century asylums, asylums victoria, male ward mayday hills

Taken in approximately 1900, this glass slide captures an image of a Mayday Hills Mental Asylum nurse. Also known as the Beechworth Lunatic Asylum, Mayday Hills was officially opened on the twenty-fourth of October 1867 and was commissioned following lobbying from Beechworth Municipal Council concerning a need for better living conditions for certain individuals confined to the town's gaol. These individuals, as well as many others who were brought from surrounding institutions, exhibited behaviours that were deemed to be unfit for mainstream society. At its peak, the asylum consisted of sixty-seven buildings and housed over twelve-hundred patients and five-hundred staff. At the time of Australian Federation in 1901 - just a year after this photograph was taken - the patient population numbered six-hundred and seventy-four. The designated site of the institution was chosen due to its scenery and altitude. It was argued that these picturesque surroundings would assist in curing the hospital's patients of their ailments. The asylum was officially closed in 1996. It is listed on the Victorian Heritage Register as being architecturally significant. The extensive complex of buildings are examples of Italianate-style, which is strongly associated with asylums of the 1860s - the period in which construction of this particular asylum began. Today the asylum offers tours to visitors: both daytime history tours and night-time ghost tours. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This glass slide is socially and historically significant as it is representative of the lives of the nurses who worked at Beechworth's Mayday Hills Asylum in the early twentieth century. Thin translucent sheet of glass with a portrait image printed on the front. It is held together by metal strips to secure the edges of the slide.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, mayday hills, mayday hills mental asylum, beechworth asylum, beechworth asylum nurses, psychiatric nurses, psychiatric care, 1900 mayday hills, victorian heritage register, italianate style, 19th century asylums, asylums victoria

Taken in approximately 1900, this glass slide captures an image of two Mayday Hills Mental Asylum nurses. Also known as the Beechworth Lunatic Asylum, Mayday Hills was officially opened on the twenty-fourth of October 1867 and was commissioned following lobbying from Beechworth Municipal Council concerning a need for better living conditions for certain individuals confined to the town's gaol. These individuals, as well as many others who were brought from surrounding institutions, exhibited behaviours that were deemed to be unfit for mainstream society. At its peak, the asylum consisted of sixty-seven buildings and housed over twelve-hundred patients and five-hundred staff. At the time of Australian Federation in 1901 - just a year after this photograph was taken - the patient population numbered six-hundred and seventy-four. The designated site of the institution was chosen due to its scenery and altitude. It was argued that these picturesque surroundings would assist in curing the hospital's patients of their ailments. The asylum was officially closed in 1996. It is listed on the Victorian Heritage Register as being architecturally significant. The extensive complex of buildings are examples of Italianate-style, which is strongly associated with asylums of the 1860s - the period in which construction of this particular asylum began. Today the asylum offers tours to visitors: both daytime history tours and night-time ghost tours. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This glass slide is socially and historically significant as it is representative of the lives of the nurses who worked at Beechworth's Mayday Hills Asylum in the early twentieth century.Thin translucent sheet of glass with a portrait image printed on the front. It is held together by metal strips to secure the edges of the slide.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, 1900 mayday hills, mayday hills, beechworth mental hospital, beechworth mental asylum, beechworth asylum nurses, psychiatric nurses, psychiatric care, victorian heritage register, italianate style, 19th century asylums, asylums victoria

The style suggests that it may have been part of the fittings of the newly opened 1937 George V memorial building at Port Melbourne. Possibly hung in the Dining hall.Religious artSolid heavy wood panel carved in relief depicting 12 bearded figures, robed and seated around a table covered with a cloth. The table is laid with seven dishes, a loaf of bread, a wine cup in front of the central figure and a dish below the table on the floor at left, and a wine or oil jar at right. The sculptor has carved the wood in a style reminiscent of the medieval or early renaissance craftsmen. There are three modern steel screw attachments for hanging attached at verso on sides and centre top edge. The subject is the Last Supper of Jesus and his twelve disciples, with Judas at left end of the table seeming to cover with his hand a bag, perhaps the 30 pieces of silver.the last supper, jesus, disciples, carving, sculpture

Hard cover book, The Australian Race Vol 4. Author: Edward Micklethwaite Curr Publisher: John Ferres, Government Printer Melbourne Aus. Date: 1886-1887 Light brown cloth hardcover and spine and blue edging to hard covers lettering in blue . The spine has a label with an inscription. Further Information: Map in pocket at the back of volnon-fictionThe Australian Race Vol. 4 by Edward M. Curr is the highly illustrated fourth part of Curr’s four volume ethnographic survey of Aboriginal Australia. It consolidates his findings on origins, languages, customs, and distributions, and its atlas volume furnishes a large comparative language map and ethnographic plates. The four volume set are a broad survey of Aboriginal peoples’ origins, languages, social customs, and movements across the Australian continent. The fourth volume functions as an atlas and language compendium, pairing textual material with a folio atlas of comparative vocabularies and a large map that traces routes and distributions. This volume also documents specific rites and regional practices, as part of his broader attempt to synthesize ethnographic and linguistic data across Australia. The work is considered a foundational reference work although in today's modern world is is regarded as dated and eurocentric set of volumes as a reference in Australian Indigenous studies and anthropology.flagstaff hil, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, book, pattison collection, warrnambool library, warrnambool mechanics’ institute, ralph eric pattison, corangamite regional library service, warrnambool city librarian, mechanics’ institute library, victorian library board, warrnambool books and records, warrnambool children’s library, the australian race vol 4, aboriginal studies, languages, native langauge

Hard cover book, The Australian Race Vol 1. Author: Edward Micklethwaite Curr Publisher: John Ferres, Government Printer Melbourne Aus. Date: 1886-1887 Light brown cloth hardcover and spine and blue edging to hard covers lettering in blue . The spine has a label with an inscription.non-fictionThe Australian Race Vol. 1 by Edward M. Curr is the highly illustrated first part of Curr’s four volume ethnographic survey of Aboriginal Australia. It consolidates his findings on origins, languages, customs, and distributions, and its atlas volume furnishes a large comparative language map and ethnographic plates. The four volume set is a broad survey of Aboriginal peoples’ origins, languages, social customs, and movements across the Australian continent. Volume one is chiefly a comparative on various vocabularies and linguistic materials, with early observations used to identify and compare Aboriginal language groups. This volume also documents specific rites and regional practices, as part of his broader attempt to synthesize ethnographic and linguistic data across Australia. The work is considered a foundational reference work although in today's modern world is is regarded as dated and eurocentric set of volumes as a reference in Australian Indigenous studies and anthropology.flagstaff hil, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, book, pattison collection, warrnambool library, warrnambool mechanics’ institute, ralph eric pattison, corangamite regional library service, warrnambool city librarian, mechanics’ institute library, victorian library board, warrnambool books and records, warrnambool children’s library, the australian race vol 4, aboriginal studies, languages, native langauge

Hard cover book, The Australian Race Vol 2. Author: Edward Micklethwaite Curr Publisher: John Ferres, Government Printer Melbourne Aus. Date: 1886-1887 Light brown cloth hardcover and spine and blue edging to hard covers lettering in blue . The spine has a label with an inscription.non-fictionThe Australian Race Vol. 2 by Edward M. Curr is the second part of Curr’s four volume ethnographic survey of Aboriginal Australia. Volume two continues the language and vocabulary work from volume one, and goes on in expanding the comparative material available across more regions and groups of Aboriginal tribes or mobs. The four volume set is a broad survey of Aboriginal peoples’ origins, languages, social customs, and movements across the Australian continent. Volume one is chiefly a comparative on various vocabularies and linguistic materials, with early observations used to identify and compare Aboriginal language groups. This volume also documents specific rites and regional practices, as part of his broader attempt to synthesize ethnographic and linguistic data across Australia. The work is considered a foundational reference work although in today's modern world is is regarded as dated and eurocentric set of volumes as a reference in Australian Indigenous studies and anthropology.flagstaff hil, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, book, pattison collection, warrnambool library, warrnambool mechanics’ institute, ralph eric pattison, corangamite regional library service, warrnambool city librarian, mechanics’ institute library, victorian library board, warrnambool books and records, warrnambool children’s library, the australian race vol 4, aboriginal studies, languages, native langauge

Hard cover book, The Australian Race Vol 3. Author: Edward Micklethwaite Curr Publisher: John Ferres, Government Printer Melbourne Aus. Date: 1886-1887 Light brown cloth hardcover and spine and blue edging to hard covers lettering in blue . The spine has a label with an inscription.non-fictionThe Australian Race Vol. 3 by Edward M. Curr is the third part of Curr’s four volume ethnographic survey of Aboriginal Australia. Volume three moves further into Aboriginal customs their social practices, and regional accounts gathered from settlers, missionaries, and other correspondents of the time. The four volume set is a broad survey of Aboriginal peoples’ origins, languages, social customs, and movements across the Australian continent. Volume one is chiefly a comparative on various vocabularies and linguistic materials, with early observations used to identify and compare Aboriginal language groups. This volume continuing in documenting specific rites and regional practices, as part of his broader attempt to synthesize ethnographic and linguistic data across Australia. The work is considered a foundational reference work although in today's modern world is is regarded as dated and eurocentric set of volumes as a reference in Australian Indigenous studies and anthropology.flagstaff hil, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, book, pattison collection, warrnambool library, warrnambool mechanics’ institute, ralph eric pattison, corangamite regional library service, warrnambool city librarian, mechanics’ institute library, victorian library board, warrnambool books and records, warrnambool children’s library, the australian race vol 4, aboriginal studies, languages, native langauge

A shirt stud is a decorative fastener that fits onto a buttonhole on the front of a pleated shirt, or onto the starched bib of a stiff-front shirt. Such shirts have special buttonholes solely for shirt studs. A shirt stud may be fashioned from alloys, precious metals, and gemstones—materials uncommon to buttons sewn on shirts. The stud may have an inlay, such as of pearl or onyx. Dress code of the modern western world reserves shirt studs for men's formal wear and some semi-formal occasions. In the western world, shirt studs were first used in the mid-19th century, when some shirt fronts were too stiff to close with buttons. So remains the case for the heavily starched, modern full dress shirts worn with white tie. A collection of men's shirt studs in black and white and in various styles,and sizesclothing, shirts, menswear, early settlers, pioneers, moorabbin, bentleigh, cheltenham, jewellery, dinner suits

The photograph taken in 1988 before it was demolished shows the Art Deco style building also known as the King George V memorial Building, commissioned by merchant and philanthropist, Alfred Michael Nicholas (1881-1937) and designed by prolific Melbourne-based architect Harry A. Norris (1888-1966) in 1937 best known for his commercial work in Melbourne city centre. Architect Harry A Norris, one of Melbourne's early designers in the Moderne style had a strong relationship with the wealthy Nicholas family who made their fortune on the production of Aspro, a replacement for the German Aspirin when it was made unavailable during WWI. After the Nicholas Building on Swanson Street (1926), the Nicholas Factory in South Melbourne, and the mansion 'Burnham Beeches' in the Dandenongs (1931), the former Missions to Seamen building in Port Melbourne (1937) was a gift from Alfred Nicholas to the Church of England. “The new Institute will be a modern two story building in brick, with a high clock-tower, a memorial chapel, a hall for talking pictures, lounges, and billiard-rooms. It will stand in about an acre of ground between the two piers at Port Melbourne. The building of the mission has been made possible by a bequest of about£15,000 by the late Mr. A. M. Nicholas.” – The Argus 19th May, 1937. The building had a cruciform floor plan which contains a chapel, a large hall, other recreation rooms, sleeping accommodation on the first floor and a sundeck and living quarters for the chaplain and the caretaker. After being left derelict for years, it was demolished in 1994 to Colour photograph of Port Melbourne Missions to Seamen demolished in 1995.harry a. norris, alfred m. nicholas, art deco, 1937, missions to seamen, brick, king george v memorial building, 1988, zeitgeist, arts centre

The Heritage Council was the funder of the project and it was produced by the Department of Planning and Community DevelopmentYellow covered booklet with photographs and printing of design features with coloured schemes for houses from Early Victorian to Post War Modern. 31 pages forward by Hon. Justin Madden MLC Minister for planning.

Plum Cottage is covered by Heritage Overelay HO256 in the Nillumbuk Planning Scheme This two-lot land holding was created as a subdivision and sold to Charles Stuart McNeil by May 1955. Sometime in the period 1955-1960, the builder-designer, John Harcourt had created a pise house on the site, straddling the two subdivision lots. The designer, John M. Harcourt was a pioneer builder in pise-de-terre and mudbrick in the Eltham Shire, Eltham being synonymous with alternative lifestyles and building practises until the onset of suburbia in the late 20th and early 21st centuries. This hipped-roof house is set high above Main Road on a V-shape plan characteristic of the Arts & Crafts style, with rammed earth or pise walls, timber joinery and a cement tiled roof. The V shape plan was used by important English and Eltham Arts & Crafts designers. The use of natural materials such as stone and timber construction is an essential part of the Arts & Crafts style and Harcourt’s work. So too is the application of the style on both the exterior and interior of the house as a holistic concept. The house adjoins the Lim Joon adobe house built and designed by Alistair Knox in the same era (HO119), thus forming a distinctive pair, both using an uncommon plan form. This house was identified in the Shire of Shire of Eltham Heritage 1992 as contributory to the Eltham Gateway Conservation Area, then proposed as an urban conservation area (now Heritage Overlay Area). Land Ownership Emily Jane Smith of 12 Woodside Street Fitzroy owned Crown Allotments 1 & 2 Sections 14, 27 by August 1918, selling to William Henry Smith of 12 Woodside Street, Nth Fitzroy May 1921. (John) James Isherwood of Main Road, Eltham owned the property by 1928 (the year of his death) with the beneficiary of his estate and next owner of this site being his widow, Minnie Maria Isherwood of Cemetery Road, Eltham. His holding in Main Road included parts of what was described in rate records as allotments1 & 2 Section E6. In the late 1930s, early 1940s her son Alfred John Isherwood was also rated for the land around this site, with the rated nett annual value varying between £2 and £5. Alfred Isherwood also lived at Main Road, Eltham with his wife Ellen: her early death at the age of 24 was reported in the Argus of 1923. Part of the Isherwood land was divided off and sold to Charles Stuart McNeil by May1955. Sometime in the period 1955-1960, the builder-designer, John Harcourt had created a pise house on the site, straddling the two subdivision lots. The house is visible on an aerial photograph from 1960s. Reputedly the house was called Plum Cottage and erected for Harcourt’s mother-in-law. A garage was added in 1959. Charles McNeil died in1971 aged 87: he was the son of Don McNeil and Margaret Arkell. Available rate records from the construction era start in the of the 1970s (1972-3) and list Mr H.C. & M/S A.V. Charity at 616 Main Road Eltham of this property with a nett annual value of $740. More recent valuer's data describes the property as lots 1 & 2 LP25668, located in the Central Riding of Eltham Shire, owned by Ann Valerie Charity and later, in 1990, by the Chincarini family. Building Description This hipped roof 11 .5 square house is set high above Main Road on a characteristic-shape plan and has rammed earth or pise walls, timber joinery and a cement tiled roof. The V-shape plan was used by Important designers such as C.F.A. Voysey (UK) who interpreted medieval domestic architecture as part of the Arts & Crafts style of the late 19th and early 20th centuries. The pise walls are covered with a textured render while the cement roofing tiles are also seen in the Harcourt Hill examples. Reputedly the ceiling joists are of a deep section and span long lengths with no need for hanging beams in the roof space. The ceilings are low and panelled in main rooms with apparently Caneite soft board infill panels between the exposed ceiling beams. These are painted white but may have been stained at one time. The focus of the house is the large living area with its vast random stone fireplace. Significance Plum Cottage is significant to the locality of Eltham because: Historically: • Plum Cottage is closely associated with the important historical theme of earth construction evident in Eltham and elsewhere in the Shire since theear1y Arts & Crafts inspired creations at Penleigh Boyd's The Robins (1912, HO101) and those at Montsalvat (1934-, HO82) but more prominent from the Second War period when earth building in Eltham was promoted in national periodicals as an alternative building method that avoided the building materials shortages of that era; • The choice of the earth building technique also expresses the theme of refuge or alternative living, synonymous with Eltham in the early to mid 20th century; • as a good example of domestic architecture from John Harcourt who was the first major post Second War figure in an important phase of Eltham’s earth building development, using his characteristic Old English or Arts& Crafts style that relies in this case on the pise wall construction, pitched roof forms, exposed ceiling joists, half timbering, random stonework, and panelled internal wall finishes. Architecturally: • Plum Cottage's pise wall construction is uncommon among the early earth-walled structures in the Shire, that are mainly of adobe or mud brick, and as a building material is uncommon among the Shire’s suburban dwellings generally which are clad typically with either fired clay bricks or timber boarding. Aesthetically: • Plum Cottage is a good and well preserved example of a modern Old English or Arts & Crafts style earth-walled building in the Shire • For the proximity of the significant Lim Joon adobe house designed by Alistair Knox adjoining to the north, providing a distinctive earth wall house pair, with uncommon plan forms. Reference Heritage Assessment of Plum Cottage, 616 Main Road, Eltham; Graeme Butler & Associates 2010main road, eltham, property, houses, (john) james isherwood, alfred john isherwood, ann valerie charity, arts and crafts style, charles stuart mcneil, chincarini family, eltham gateway zone, emily jane smith, h.c. charity, heritage assessment, john harcourt, john m. harcourt, lim joon house, main road eltham, minnie maria isherwood, pise construction, plum cottage

Towanga & Mt Bogong. Mt Bogong is actually the mountain on the left at the back. Early maps spelt Tawonga differently to the current day spelling 'Tawonga'. The haystack and fence indicate that the photo may have been taken at the turn of the century. The exotic trees are not very old.This seems to be an early photo of Tawonga showing older style fencing and haystack and vegetation in the area.Black and white photo with title at the bottom middle - "Mt Bogong / Towanga (sic), Victoria Modern light brown wooden frame with black cardboard back triangular hook and black cardboard stand attached. Photo covered with clear glass.Sticker on back of frame "67480 Eng Walnut / 49426 / Made In Thailandtowanga. tawonga. mt bogong. kiewa valley.

This calculator is like a modern calculator style keypad with a traditional pinwheel calculator. In operation it is similar to other Facit machines. The design from the 1930s was produced without interruption with only slight modifications until the early 1970s.This one hasn't a serial number or Model Number so date is unknown but probably the 1940s - 1950s when the SEC were constructing the Kiewa Hydro Electric Scheme.Used by the SEC Office Staff when the SECV were constructing the Kiewa Hydro Electric SchemeBox shape with grey steel top and sides on a black base. Three thin strips of stainless steel embossed with numbers on the top and clear panels beside them. Front has 3 red and 10 black knobs with arrows on the red and numbers on the black. Sides have stainless steel pedals and winders. The machine is very heavy. See on-line "mechanical calculators.wordpress.com"'Facit' on the front.calculator, facit

St Mary's Catholic Church, cnr Main Road and Henry Street, Eltham was opened/blessed October 13, 1912. The wooden church was built to replace an earlier brick church also known as St Mary's (1865-1912), which had been situated on the main road near present day Wingrove Park. The church and land cost £1,400 (Evelyn Observer). The wooden church was destroyed by fire in 1961. A new modern architecture (1960s) style church was erected - Our Lady of Help Christians Church. This photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book,"Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as the 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.Digital image 4 x 5 inch B&W Neg Print B&Wsepp, shire of eltham pioneers photograph collection, eltham, roman catholic church, church, catholic church, henry street, main road, st marys catholic church

The second St Mary's Catholic Church Eltham was located at the corner of Main Road and Henry Street, Eltham and was opened/blessed October 13, 1912. The wooden church was built to replace an earlier brick church also known as St Mary's (1865-1912), which had been situated on the main road near present day Wingrove Park. The church and land cost £1,400 (Evelyn Observer). The wooden church was destroyed by fire in 1961. This modern (1960s) style church was built to replace the destoyed St Mary's and was called Our Lady of Help Christians. By this time Henry street had been closed off from Main Road.This photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book,"Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as the 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.Digital image 4 x 5 inch B&W Neg B&W printsepp, shire of eltham pioneers photograph collection, eltham, roman catholic church, churches catholic, main road, george w bell collection, our lady of help christians church

This electric kettle/Jug is shaped in the style of the Art Deco period 1930's to 1950's (in Australia). It was at the beginning of the wave of creative kitchen ware to stimulate and impress visitors and uplift what used to be a boring kitchen environment.This "art deco" electric kettle is very significant to the Kiewa Valley because it highlight that rural families and areas where in step (fashion wise) to their city "cousins". In the mid 1900's "the fashion" in Australia was (on the whole) always some years behind that of England and Europe. The years after World war II reduced the time lag between the "advanced fashion" of Europe and England and came in step with the emerging modern American fashion. American "film stars" started have their fashion projected onto the silver screens.This electric Fowler ware is a ceramic hot water jug. Its shape is in the "Art Deco" style of the early 1920's.On base "240V - 1650W" below this "AC ONLY" below this "MODEL No. EEJ" "APP. No. N550" below this "JUG BODY BY" under this and in script style "FOWLER WARE" below this "1583"kitchen appliances, tea/coffee preparation, light refreshments, hospitality offerings, art deco styles in appliances

Replica figurine. Muttergottheit, loosely translated, means 'Mother Goddess'. Inscribed underneath in Frank Forster's hand.Early Christian style figurine depicting Muttergottes (Virgin Mary - German) figure wearing toga and veil, holding a swaddled infant. Plaster with ochre over-painting, most likely modern replica. Sticker attached to base is printed with German text that reads 'Muttergottheit/Trier, Altbachtal/2. Jh. n. Chr.' The numbers '1974' and '0216' have been handwritten on the base of the figurine.

This book was produced as a joint project by Heritage Victoria and the Building Commission to celebrate the Year of the Built Environment. It is a guide to historical housing styles in Victoria.What House is That? A Guide to Victoria's Housing Styles. Housing styles, colours, architecture. Photographs & illustrations. 27 pages. Green sft coverhouses, housing styles, colours, architecture. early victorian, mid victorian, late victorian boom style, queen anne, edwardian, californian bungalow, early modern, modern

The organisation of this book follows the established style of the successful series of which if forms part. In combination with the earlier titles devoted to Modern Air Combat, Modern fighting Helicopters, Modern Naval Combat and Modern Submarine Warfare, it completes a detailed, graphically illustrated survey of the technology, hardware and tactics involved in all the main areas of current military activity.military art and science, weapons

Discusses the styles and aspirations of modern architecture post World War 2 in contrast to pre-war architecture (incomplete manuscript).Handwritten, quarto, 1 pagele corbusier, eero saarinen, modernism, world war 2, robin boyd, manuscript

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.Red cardigan embroidered with decorative tuck stitches and floral motifs on front panel, crochet around collar in blue, white and green. Closes at centre front with 5 plastic buttons[Label at back neck with blue lettering woven into label] KATHRYN REGD ALL WOOL / 20 /CREATED BY ROBERT BLAKEchildren's knitwear, knitwear, children's clothing, clothing, cardigan, manufacturing, fashion textile production, machine knitting, embroidery, hand embroidery, floral embroidery, floral motif, tuck stitch

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.Brown children’s cardigan with embroidery of four baby chicks in yellow and red on green grass at bottom of front panels. Closes at centre front with three brown plastic buttons[Label at back neck with blue lettering woven into label] KATHRYN REGD / 20 ALL WOOL CREATED BY ROBERT BLAKEchildren's knitwear, children's clothing, clothing, knitwear, manufacturing, fashion textile production, machine knitting, embroidery, embroiderer, chickens, chicks, baby animals, cute animals

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. Orlon was developed by DuPont in the 1940s and became the first commercially successful acrylic fibre in the 1950s and 1960s. The development of Orlon coincided with an increase in availability of washing machines in everyday Australian homes. The great appeal of Orlon was that while wool garments still had to be hand-washed, Orlon’s shrink-resistant nature made it machine washable and dryable. This was a very appealing prospect, especially for the seemingly unending task of cleaning active children’s clothing. Machine washable wool would not be available until the development of the ‘Superwash’ treatment by the Australian Wool Board and CSIRO in 1970. 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.White baby’s swimming shorts with stripes on front in navy, cyan and yellowchildren's knitwear, children's clothing, knitwear, clothing, manufacturing, fashion textile production, machine knitting, colourwork, swimwear, baby swimwear

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. Orlon was developed by DuPont in the 1940s and became the first commercially successful acrylic fibre in the 1950s and 1960s. The development of Orlon coincided with an increase in availability of washing machines in everyday Australian homes. The great appeal of Orlon was that while wool garments still had to be hand-washed, Orlon’s shrink-resistant nature made it machine washable and dryable. This was a very appealing prospect, especially for the seemingly unending task of cleaning active children’s clothing. Machine washable wool would not be available until the development of the ‘Superwash’ treatment by the Australian Wool Board and CSIRO in 1970. 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.Long sleeved cream baby romper suit with patterned stitch on bottom half and diamond emblem on chest. Closes with two pearlescent plastic buttons at centre back and with three pearlescent plastic buttons at crotch.Kathryn Reg’d / 100% orlon / 20 [handwritten]children's clothing, children's knitwear, clothing, knitwear, romper, jumpsuit, baby clothing, baby clothes, 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. Orlon was developed by DuPont in the 1940s and became the first commercially successful acrylic fibre in the 1950s and 1960s. The development of Orlon coincided with an increase in availability of washing machines in everyday Australian homes. The great appeal of Orlon was that while wool garments still had to be hand-washed, Orlon’s shrink-resistant nature made it machine washable and dryable. This was a very appealing prospect, especially for the seemingly unending task of cleaning active children’s clothing. Machine washable wool would not be available until the development of the ‘Superwash’ treatment by the Australian Wool Board and CSIRO in 1970. 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.White lacework baby romper suit with long sleeves and legs, and enclosed feet. Closes at centre back with two plastic buttons. Zips open around leg inseam. Size 00 .2 is a retail tag marked with the price and size, and refers to the label sewn into the garment for washing instructions..2 [Retail Swing Tag] [Obverse] KATHRYN Children’s Knitwear STYLE PRICE [handwritten] $18 SIZE [handwritten] 00 [Reverse] WASHING INSTRUCTIONS Refer to label sewn in Garment Designed and manufactured by ROBERT BLAKE PTY. LTD., Melb., Aust.children's knitwear, children's clothing, baby clothing, baby knitwear, clothing, knitwear, romper, jumpsuit, manufacturing, fashion textile production, machine knitting, machine lace, baby clothes

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. The decoration on this garment was embroidered by hand by a skilled worker at the Kathryn Knitwear factory. 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.White diaper set. Short sleeved white top with two inverted box pleats along whole length, stitched at shoulder and mid chest. Embroidered in half cross stitch with two blue dogs on front. Closes in centre back with three plastic pearlescent buttons. White baby diaper shorts with ribbing at waist and leg holes .3 is a sample tag with manufacturing information, including price, size and colours available .4 is a swing tag with manufacturer care instructions.1 [label at back neck of top] Kathryn Reg’d / All Cotton / 18 .3 [sample label] [Obverse] STYLE: 314. Diaper Sat [sic] – Emb top. Combed Cotton. SIZE: 18” PRICE: 26/- COLOR: BLUE. LEMON. WHITE. [reverse] KATHRYN Garments are •PRE-SHRUNK •STANDARD MEASUREMENTS •FIT EXACTLY •LAUNDER PERFECTLY Designed and Manufactured by ROBERT BLAKE, MELBOURNE .4 [retail label] [obverse] Kathryn PRE-SHRUNK KNITWEAR Style: 314 [handwritten] DESIGNED & MANUFACTURED BY Robert Blake MELBOURNE [reverse] IMPORTANT. Special care should be taken with white and pastel shades. Rinse thoroughly. Do NOT dry in sunlight. WASHING INSTRUCTIONS 1.Wash frequently to AVOID HEAVY SOILING 2.Wash garment BY HAND, in lukewarm Velvet Soap suds. ON NO ACCOUNT RUB SOAP ON GARMENT. 3.Squeeze suds gently through garment but DO NOT RUB. Rubbing will cause garment to thicken. 4.RINSE AT LEAST TWICE IN CLEAN WATER TO REMOVE ALL SOAP. 5.To dry, roll garment in a towel to remove excess moisture, turn garment inside out and pull it lengthwise, then safety-pin to line through shoulder tape. 6.To keep Brushed Wool garments like new brush frequently with nylon brush.children's knitwear, children's clothing, knitwear, clothing, manufacturing, fashion textile production, embroidery, embroiderer, hand embroidery, dog embroidery, animal embroidery, animal motif, dog motif, dog, animal, baby clothes, baby knitwear, baby clothing

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. Orlon was developed by DuPont in the 1940s and became the first commercially successful acrylic fibre in the 1950s and 1960s. The development of Orlon coincided with an increase in availability of washing machines in everyday Australian homes. The great appeal of Orlon was that while wool garments still had to be hand-washed, Orlon’s shrink-resistant nature made it machine washable and dryable. This was a very appealing prospect, especially for the seemingly unending task of cleaning active children’s clothing. Machine washable wool would not be available until the development of the ‘Superwash’ treatment by the Australian Wool Board and CSIRO in 1970. 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.Cream baby dress with long sleeves, blue stripe and cream faux cable textured details at yoke and hem. Body is gathered and attaches at yoke. Dress has a drawstring tie at neck accented with cream pompoms and closes at centre back with three pearlescent plastic buttons. Back opening is reinforced with grosgrain ribbon. .2 is a sample tag with manufacturing information, including sizes and colours available .3 is a retail tag with style, care instructions and brand marketing[label stitched into back neck] KATHRYN 100% Orlon .2 [sample label] [Obverse] 802/F – BABIES ORLON FROCK. 16” – LENGTH 24/6 BLUE/WHT LEMON/WHT PINK/WHT WHT/BLUE WHT/LEMON WHT/PINK .3 [Obverse] KATHRYN Children’s Knitwear STYLE [handwritten] 802/F SIZE PRICE [reverse] KATHRYN Garments are •PRE-SHRUNK •STANDARD MEASUREMENTS •FIT EXACTLY •LAUNDER PERFECTLYclothing, children's clothing, knitwear, children's knitwear, manufacturing, fashion textile production, colourwork, pom-pom, pom poms

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. Orlon was developed by DuPont in the 1940s and became the first commercially successful acrylic fibre in the 1950s and 1960s. The development of Orlon coincided with an increase in availability of washing machines in everyday Australian homes. The great appeal of Orlon was that while wool garments still had to be hand-washed, Orlon’s shrink-resistant nature made it machine washable and dryable. This was a very appealing prospect, especially for the seemingly unending task of cleaning active children’s clothing. Machine washable wool would not be available until the development of the ‘Superwash’ treatment by the Australian Wool Board and CSIRO in 1970. 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.Pink three piece legging suit, consisting of cardigan, lettings and beanie. Cardigan is knitted with textured stitch and has stocking stitch panel bordered with garter stitch at centre front. Two rows of buttons on garter stitch tab, with a fifth button under left collar. Leggings are plain garter stitch with an elastic waistband and a flap that extends onto the top of the foot with elastic to keep it held under the sole. Hat is in same patterned stitch as cardigan, has ear flaps with ties and a white pompom.1) [Label at back neck with blue lettering woven into label] KATHRYN REGD ORLON / 20 /CREATED BY ROBERT BLAKE [sample label] [OBVERSE] STYLE LS/PWO – 3 PCS – LEGGING SUIT – PEARL PATT. – 80% ORLON 20% WOOL SIZE 18” 20” PRICE 48/6 51/6 COLOR BLUE. LEMON. PINK. WHITE. [REVERSE] KATHRYN Garments are • PRE-SHRUNK • STANDARD MEASUREMENTS • FIT EXACTLY • LAUNDER PERFECTLY Designed and Manufactured by ROBERT BLAKE, MELBOURNEknitwear, clothing, children's knitwear, children's clothing, manufacturing, fashion textile production, machine knitting, clothing set, pom poms