GETTING GOLD - AN ABC OF PROSPECTING IN AUSTRALIA. By 'Fossiker' An ABC of prospecting in Australia, explaining panning, cradling, puddling, dollying & sluicing. Price two shillings and six pence 42 pages with folded maps and illustrations. printed by Robertson & Mullens Limited, Melbournegold, prospecting in australia, gold, mining, prospecting

Colour slide in a mount. Image from magazine, Greystanes House, Prospect Hill, NSW, AustraliaMade in Australia / Colonial House (Handwritten) / 2 (Handwritten)slide, robin boyd

Folded gloss full colour sheet to quarto size, pamphlet titled "MTC - Melbourne Prospect - Australia's First Road-Rail Complex", the Doncaster - Eastern Freeway. Front cover article reports on the construction of the freeway which will later have a railway to Doncaster. Reports also on flexibility of the MTC (Metropolitan Transport Committee) planning for transport, new suburban trains (Silver), the Underground loop, flyovers at Richmond Station and freeways in general.trams, tramways, melbourne, traffic control, transportation, doncaster, railways, mtc, metropolitan transport committee

In Australia, precious opal is found in Cretaceous age sandstones and mudstones. These sedimentary rocks were deeply weathered and this weathering released silica into the groundwater.Australia is the only part of the world where opalised animal and plant fossils have been found. Opal artefacts several thousands of years old have been discovered in East Africa. As early as 250 BC the Romans prized opals, thought to have come from mines in Eastern Europe, the ancient world's main source of opals. There are many aboriginal dreamtime stories that feature opal. Australian opals discovered during the late 1800's found little favour with European markets but their commercial value increased in the 1900's and in 1932 Australia took over as the major producer of opals in the world and remains the largest producer to this day. Opal is found around the world (Brazil, Mexico, Honduras and the western US) however Australia produces 95% of the world's precious opal and it is our official national gemstone. Opal was first mined commercially at Listowel Downs in Queensland in 1875 and later at White Cliffs in NSW. Today, Coober Pedy (SA) is the main producer of white opal, though in recent years this field has expanded and all types of opals are found. Other centres in SA include Andamooka and Mintabe. Lightning Ridge (NSW) is renowned for black opal and formerly White Cliffs was a large producer of high quality opal. Boulder opals (opals in concretionary ironstone) are mined in Queensland from numerous localities in a zone extending from the Eulo and Cunnamulla district in the south and northwest for a distance of over 700 km to Kynuna in the north. The towns of Quilpie, Yowah and Winton are the main opal mining and wholesale centres. Opals are considered gemstones and have been used in jewellery for thousands of years.Throughout much of history, opals were actually believed to be good luck. The Romans thought that opals were one of the luckiest gemstones and a symbol of hope. In the Middle Ages, opals were believed to be bestowed with all the positive properties of coloured gemstones due to its rainbow-like play of colour. Finally, there is a superstition that you should not wear an opal unless it is your birthstone otherwise misfortune will befall you. This, of course, is far-fetched, but the notion could have been promoted in the late 19th and early 20th Centuries by diamond traders who were trying to increase sales of diamonds and deter people from buying opals. Possibly related to this is the thought that you should set opal jewellery with diamonds as their powers of good fortune will override any negativity held by the opal. The great majority of opal does not show play of colour and is called common opal or potch however this is not the case with a precious opal. Opal is a precious gemstone, like rubies, emeralds or diamonds. Opal is rare, and it is expensive to prospect and mine for.Silica is one of the most common minerals on the planet, but precious opal is very rare – far more rare than diamonds. Precious opal is rare because the natural processes that create it rarely occur.Most (at least 95%) of the opal found by miners is common opal without gem colour. In Australia we call it potch. It can be white, grey, black or amber coloured. Even when a miner finds gem-coloured opal, most of it can’t be cut into gemstones because it’s too thin, or sandy. This specimen is part of a larger collection of geological and mineral specimens collected from around Australia (and some parts of the world) and donated to the Burke Museum between 1868-1880. A large percentage of these specimens were collected in Victoria as part of the Geological Survey of Victoria that begun in 1852 (in response to the Gold Rush) to study and map the geology of Victoria. Collecting geological specimens was an important part of mapping and understanding the scientific makeup of the earth. Many of these specimens were sent to research and collecting organisations across Australia, including the Burke Museum, to educate and encourage further study.It is not known where this opal originated, except that it is probably from Victoria, as it has been recorded from many localities in the State. Common Opal is formed from silica-rich water circulating through rocks near the Earth’s surface. It consists of minute spheres of silica arranged in different ways. In common opal, the spheres are of different sizes and randomly arranged, unlike in precious opal where the spheres are of similar size and uniformly arranged in three dimensions. These differences account for common opal generally being translucent to opaque and without the play of colours, or opalescence, displayed by precious opal. Common opal is found in many localities and different geological environments throughout Australia and the world. Precious opal requires special conditions to form and is much less common. Australia produces most to the world’s precious opal. burke museum, beechworth, indigo shire, beechworth museum, geological, geological specimen, precious opal, opal, brazil, mexico, honduras, queensland, coober pedy, gemstones, jewellery, play-of-colour, light blue

This Miner’s Right, one of a pair of two in our collection, was issued post the rush of the 1850s-60s but is testament to the ongoing interest in gold although the great rush had dwindled. Local papers continued to report on findings and hopes of success, including syndicates and explorations across the south-west district of Victoria and Otways. The Warrnambool correspondent of the “Hamilton Spectator”, 31/1/1878, p4 attest to the price of a good season of potatoes comparing “favourably with the unsteady returns of any precarious gold-bearing quartz reefs in the colony.” A James Collins (1842-1918) is listed in the Pioneers’ Register, Warrnambool, Township and Shire 1839-1900, Volume One, A.I.G.S Warrnambool Branch, 2004, p137. As are numerous other Collins pioneer families of the district. This item is significant in that it illustrates that people associated with the region were interested in taking their chances in prospecting for gold similar to many others. A lure that is still present for some today. Although the southwest region found it's source of wealth in other industries from whaling and fishing, wool and other agricultural pursuits. Miner's Rights permit, one of two, This is a top to bottom upright image of a Miner’s Right. It is a buff coloured document printed in black ink. It was issued in “BALLARAT” and rubber stamped twice in red ink. The issue to “James Collins”, is dated “23rd August 1889” to “22nd August 1890”. The signature of the authority could be Bennet. All handwriting is script style in black ink. Looking from the front the lefthand side has a serrated edge. The back is printed in black ink and there are no “particulars of registration”. The Miner’s Right is from “Series J, Book No. 3, ticket “No. 15”. A “Colony of Victoria” coat of arms is displayed at the top of the document. An insignia runs along the lefthand side of the license featuring coat of arms with a kangaroo and emu, then a miner’s pick and shovel, two crossed Union Jack flags sit behind a monogram “VR” with a hanging set of scales supported by a sword. "By Authority Robt. S. Brain, Government Printer.""Series J. Book No. 3 Five Shillings. No. 15. Colony of Victoria. Miner's Right"flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, james collins, australian goldfields, miner's rights, the history of ballarat, gold rush

This Miner’s Right was issued post the rush of the 1850s-60s but is testament to the ongoing interest in gold although the great rush had dwindled. Local papers continued to report on findings and hopes of success, including syndicates and explorations across the south-west district of Victoria and Otway Region, Victoria. The Warrnambool correspondent of the “Hamilton Spectator”, 31/1/1878, p4 attest to the price of a good season of potatoes comparing “favourably with the unsteady returns of any precarious gold-bearing quartz reefs in the colony.” The Miner's Wright is issued to -- Bryant. While it cannot be found who this Bryant is, the name Bryant is historical to the town of Warrnambool which has a street named after William Bryant the first head teacher of the Jamieson Street Primary School from 1876 to 1894. Numerous newspapers of the day reported the movement of local residents moving to other regions with varying success of gold prospecting. This item is significant in that it illustrates that people associated with the region were interested in taking their chances in prospecting for gold similar to many others. A lure that is still present for some today. Although the southwest region found it's source of wealth in other industries from whaling and fishing, wool and other agricultural pursuits.Top to bottom upright Miner’s Right. “Series I. Book No. 2. Five Shillings. No. 144. Colony of Victoria” Issued in Ballarat, date 16th June 1888 to “[looks like] J. V. Bryant”. A previous name is scribbled through and looks like Christine, second name not deciphered. The document is in force until “15th June 1889”. “The Mining Statute 1865”. Authorised signature last name Bennet. The paper is buff and has some slight ink markings and finger smudges. A coat of arms appears at the top centre. Another insignia related to mining with a pick and shovel, set of scales and the initial “VR” goes down the lefthand side of the page. This page has a serrated edge. The ink on the page is black, and the words “BALLARAT” are stamped in red ink, now faded. All hand writing is black script. There are no “particulars of registration” given in the spaces provided on the back of the document. Series I. Book No. 2. No. 144. Ballarat. 16th Jume 1888 to 15th June 1889. Colony of Victoria "The Mining Statue 1865, No. 291.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, james collins, australian goldfields, miner's rights, the history of ballarat, gold rush, bryant

The photograph depicts eleven vignettes relating to the murders of Captain Lee Weller, Charles Burgess and Arthur Preston by Frank Butler (born Richard Ashe, alias Frank Harwood). Some historians consider Butler to be Australia's first serial killer. Butler submitted written advertisements to the classified columns of the Sydney Morning Herald newspaper looking for people to join him in prospecting for gold. Butler took his victims into the Blue Mountains in New South Wales and told fabricated stories of gold mines worth thousands of pounds. He then made his victims dig their own graves under the guise that they were digging for gold. He would then shoot them, take their valuables, and bury them.Sepia rectangular photograph printed on matte photographic paper mounted on card.Obverse: 1897 / Butler's inseparable Friend / Cap ' Lee Weller / The Victim Burgess / A OT Preston / Frank Harwood / alias / Butler / J. Mulhall & Son / discoverers of Burgess grave / Butlers supposed Wife / Frisco / Examining Burgess corpse at Black Range near Parkes NSW / The Swanhda / His Prospecting Tools / Burgs Waggonette used for Prospecting sold Butler / (?) / The Butler Tragedies Reverse: BMMA03308 / Removal story of the / 1997.3119 / Butler murders near / Parkes NSW 1897 / 84 - 35 - 1 / Enterprise Photo Company, / 26 Elizabeth Street, / SYDNEY. /entertainment album, captain lee weller, charles burgess, arthur preston, frank harwood, frank butler, crime, blue mountains, new south wales, murder, tragedy, gold, gold mine, sydney morning herald, swanhilda, richard ashe

History of Gold mining, banking, shipping and prospecting16 page booklet with coloured images, map and black and gold textgold miners, gold discovery, edmund hammond hargreaves

This book contains interviews with 48 of the 300 centenarians listed by the Australian Bicentennial Authority, whose long lives together form an oral social history of the development of Australia over the past one hundred years. It includes reminiscences of Judy Bagu, Jimmy Bird, Paddy Djiaween and Walter Smith; brief accounts of bush foods, medicines, uses of plants, birth and mortuary rituals; working lives on cattle stations, missions, prospecting, dingo trapping, camel working, pearling, shire council; Kunmunyah, Beagle Bay Mission, Broome.This compilation of stories from centenarians is a contemporary social record of one hundred years of living through two world wars and the Great Depression in Australia. A 183 pp book with a light brown cover, darker spine. On the front cover is a photograph of a pair of hands. Print is black "A Ton of Spirit Australian Centenarians talk with Penny Smith".book-a-ton-of-spirit-penny-smith social-records-early-australia

Discovered in One Tree Hill Park, Bendigo whilst gold prospecting.Copper medallion etched with portrait of Queen Victoria on front, bushman on back. Front: “BRITISH TRANSVAL WAR 1899 - 1902” Back: “SUCCESS TO AUSTRALIAN IMPERIAL BUSHMEN 1902”medallion, memorabilia, boer war, bushmen

Ouyen is a rural township near the centre of the Mallee region in north-west Victoria. It is on the Sunraysia Highway, 100 km south of Mildura, and is a railway junction for the lines to Mildura and westwards through the Mallee to Murrayville and Pinnaroo, South Australia. In 1903 the railway line was extended from Woomelang (80 km south of Ouyen) to Mildura, the site of an irrigation settlement on the Murray River. The prospect of farming in the Mallee had been enhanced by settlements at Hopetoun and Lascelles (both near Woomelang), and the opening of the railway line invited settlement along its route. Settlers began arriving in the Ouyen district in 1906, and the township was proclaimed in 1909. It is thought that the name was derived from an Aboriginal word meaning ghost or waterhole. West of Ouyen an area of land extending to the South Australian border was found to be adequate for farming and contained bore water (1906). Settlement spread westwards from about 1909 to Walpeup and beyond. Ouyen began functioning as a service centre. A school was opened in 1909 in a coffee palace and public hall. Within 15 years of its settlement Ouyen had 900 people, and was the administrative centre of Walpeup shire (1911). A shire hall was built in 1918. A district hospital was built in 1929, and a higher education school was opened in 1928. It became a high school in 1952. A Catholic primary school was also opened in 1952. By the 1930s, though, Ouyen had a local court, four banks, an agricultural society, sporting and racing clubs, and local industries such as cordial making, plaster sheet, a freezing works and an electricity generation plant. Silos were later built for the storage and railing of cereal grains."A Mallee Album. Reflections on Mallee Life" published by Local History Resource Centre, Ouyen. Foreword by The Local History Resource Centre Committee, Ouyen. A collection of images from the area and brief description associated with each image. Published in Australia by Local History Resource centre, Ouyen, 1988. White colored hard cover book. Black and white photograph on front cover. Titles printed in black. Book includes black and white photographs of local people and events. 153 pp.mallee, ouyen

Georg Lansell's brother Wootton Lansell's was Born in Margate, Kent, England, son of a grocer and tallow chandler.Worked as a seaman, with a mariner's certificate issued in 1844, he Arrived in Australia in 1850, initially working as a mounted trooper in Adelaide before moving to Bendigo in 1852 during the gold rush. After some success in gold prospecting, Lansell became a carpenter and then opened a butcher's store in View Point, Bendigo. He Invited his brothers George and William to join him; together they expanded into soap, candle, and tallow businesses. The partnership dissolved after three years, with Wootton turning to farming on 500 acres at Leichardt, while George became known as Bendigo's 'Gold King. Wotton Married Helen Hall in 1854 in Adelaide; they had one son (Thomas George William) and three daughters. Wootton invested in mining and was involved in several mining directorates. Around 1879, Wootton built a substantial brick and stone house (Myrtle Villa) with eight main rooms, which remains in the family. The house is notable for its original features, such as sand-colored tile-patterned wallpaper and a four-poster bed where nine of his ten grandchildren were born. The garden is sustained by a permanent spring and retains much of its original character. The house is still occupied by his descendants, notably his twin granddaughters Alice Lansell and Neva (Mrs. D. W. Jenkins). The family has preserved the home's historical character, with careful updates and retention of original furnishings and heirlooms. The Lansell name is closely associated with Bendigo's early gold-mining history and development. Myrtle Villa stands as a testament to the family's enduring presence and influence in the region.Lansell Articles - Wotton Lansell - Myrtle House Bendigo This item contains the following document: 11217.67a Colour photo 7.5 x 10 inches of four poster bed at "Myrtle House", Bendigo. The photo is of the elegant four-poster bed in which nine of Wotton Lansell's grandchildren - the family of his son Thomas William, were born. On the rear of the photo is written in ink. "Main bedroom, Myrtle Villa c 1982; a gift to Wotton and Helen Lansell from Edith Lansell."non-fictionbendigo, fortuna, george lansell, edith lansell, wotton lansell, helen hall lansell

The Miner’s Right has a long history in Australia. Still in use today, it was first established in Victoria in 1855, as a replacement for the Gold License (which had been introduced in Victoria in 1851). The Miner’s Right was subsequently adopted by other Australian colonies. Unlike the Gold License, the early Miner’s Right, in addition to the right to prospect for gold, also carried with it certain other advantages, such as property rights and voting rights. The Miner’s Right came about as a recommendation of a government-appointed commission, which had been appointed on 1854 to look into the troubles on the Victorian goldfields, especially regarding the Eureka Rebellion.Three Miner's Rights / Residency Permits for leases on the corner of Holdsworth Road and Wood Street, Long Gully, Bendigo (Area known as American Gully - downstream of the American Mine): a and b No 72 Sarah Harvey, dated 23/01/1913 c and d No 23148 Evalina Gifford Vivian Harvey, dated 14/09/1926 e and f No 23149 Thomas George Harvey, dated 14/09/1926 Issued by the Victorian Government at a cost of two shillings and six penceVictorian State Governmentwes harry collection, miner's right, bendigo, history, long gully bendigo

Ten typed pages of notes and photocopied photos. Notes include Introduction which describes the journey between Bendigo and Eaglehawk. Notes also mention the Signposts at the Victoria Hill with their explanation. Dated 30/8/1971. The four photocopied photos are: (1) Victoria Hill - From Rae's Open Cut with the Central Nell Gwynne Popper Legs and the Victoria Hill Victoria Quartz Mullock in the background. (2) Looking North from Old Chum Hill to the Victoria Hill. (3) Victoria Quartz on Victoria Hill, Ironbark. (4) Rae's 35 Hd. Crushing Battery. Victoria Hill in background, Wm. Rae's early home top right.document, gold, victoria hill, the rich victoria hill and its historical associations, j n macartney, quartz miners' arms hotel, ironbark methodist church, john brown knitwear factory, little 180 mine, conrad heinz, british and american hotel, victoria reef gold mining company, manchester arms hotel, victoria hill from rae's open cut, ironbark (victoria reef gold mines), hercules and energetic, midway, wittscheibe, great central victoria, william rae, william rae junior, mr and mrs conroy, central nell gwynne, moorhead's shop, gill family, gold mines hotel, looking north from old chum hill to the victoria hill, new chum and victoria, old chum, pioneer, burrowes & sterry, rotary club of bendigo south, big 180, north old chum mine, ballerstedt's forst open cut, lansells big 180, george lansell, new chum syncline, lansell's 'cleopatra needle' type chimney, 222 mine, sandhurst or 'needle mine', victoria quartz mine, victoria reef quartz company, victoria quartz company, a roberts & sons, e j dunn, h harkness & sons, new chum drainage scheme, eureka extended, new chum railway, pearl, bendigo advertiser june 16 1910, rae's open cut, quartz roasting, anticlinal arch, prospecting tunnels, floyd's small 5 head crushing battery, great central victoria (midway), midway no2, midway north, ballerstedt's small 24 yard claim, the humboldt, wittscheibe, adventure, advance, luffsman & sterry, rae's 35 head crushing battery, a richardson, the bendigo goldfield 1851 to 1954, the victoria hill 1854 to 1949, australian mining standard special edition 1/6/1899, bendigo mines ltd, mines dept, bendigo advertiser, annals of bendigo, dickers mining record 23/11/1861, bendigo goldfields registry 1871, bendigo and vicinity 1895, mr rae anderson, w n macartney 1st edition 1871

The first five pages are photocopies of photos:- 2 of Rae's Crushing Works; Victoria Quartz on Victoria Hill, Ironbark; Looking North from Old Chum Hill to the Victoria Hill; Victoria Hill - from Rae's Open Cut. Introduction covers location of buildings and mines. Mentioned are:- North Old Chum Mine, Ballerstedt's First Open-cut, Quartz Veins (Spurs), rock formations pitching North, Prospecting shafts 1929, Concrete dam, Engine beds of Lansells Big 180 Mine, Lansells Big 180 Shaft, twenty stampers crushing battery, Lansell's Cleopatra Needle type chimney, Victoria Quartz Mine, Victoria Quartz dams, Rae's Open-cut, Quartz once roasted here to an intense heat, Anticlinal Arch New Chum Line, small primitive tunnels, Prospecting tunnels, Floyd's small 5 head crushing battery, Great Central Victoria (Midway) Shaft, Great Central Victoria engine-bed, Ballerstedt's small 24 yard claim, The Humboldt, Adventure ground, The Advance, Luffsman & Sterry's Claim, A round shaft. Small piece of paper with 'Notes on Victoria Hill complete. Notes prepared by Albert Richardson.document, gold, rae's crushing battery, rae's crushing battery, rae's crushing works, victoria quartz mine, from old chum hill, victoria hill from rae's open cut, ironbark, hercules & energetic, midway, wittscheibe, great central victoria, mr & mrs conroy, central nell gwynne, gold mines hotel, john brown knitwear factory, new chum & victoria, rotary club of bendigo south, north old chum, ballerstedt's first open-cut, lansell's big 180 shaft, cleopatra needle type chimney, a roberts & sons, mr e j dunn, h harkness & sons, eureka extd, new chum railway, pearl, inrush of water at victoria quartz, floyd's small 5 head crushing battery, great central victoria (midway), ballertedt's small 24 yard claim, humboldt, humboldt, great central victoria, victoria hill, bendigo & vicinity 1895 p51, j n macartney 1st edition 1871, bendigo goldfield registry 1871, plan of new chum line, mr rae anderson, annals of bendigo obituary 1904, bendigo advertiser, b m l records mines dept, patterson's goldfields of victoria, dickers mining record 23/11/1861, australian mining standard special edition 1/6/1899 p40, bendigo mines ltd, chinese joss house, fortuna, the victoria goldfield 1851 to 1954, the victoria hill 1854 to 1949

Nicholas John Bolle was born in Dorstadt, Germany in 1836 to parents Heinrich (Johannes Heinrich Wilhelm) and Friederike Hartmann (Anne Marie Friedericke). Around the age of 20 he immigrated to Australia and made his way, most likely on foot, 150km in a northerly direction to the Bendigo goldfields. In March 1863 Nicholas registered his first mining claim, naming it Bolle’s Reef. Having worked this reef until it no longer paid, he went on a prospecting tour of the area and found another gold reef towards Elysian Flat, staked a claim and registered it under the name of his beloved wife ‘Rosanna’. Sadly, as was often the case, the cost of hiring men to get the gold out of the ground, and removing it from the clay and quartz, outweighed the amount of profit he was making from his discoveries. In November 1863 while living and working at Old Tom Gully, Nicholas appeared in the Government Gazette as insolvent. Nicholas continued to struggle on, scoping out the surrounding area in the Whipstick Forest, and having some little success and by 1869 he was given a government reward of 25 pounds for discovering a new area of gold in the Whipstick. The Government Gazette records this reward – 'for the discovery of the Whipstick, 25 pounds' (Government Gazette 1869) By 1872 Nicholas had established a quartz crushing plant at his mine in Old Tom Gully, (the Old Tom mine) a remote place in the middle of the Whipstick. Mining was a dangerous business, and in 1875 Nicholas was called as a witness in a coroner’s inquest into the death of a John Bashton who was accidentally killed in a mining accident at nearby Easter Claim in December. In 1881, he was again called to give evidence when one of his employees Mr Thomas Garrett was killed while working at his claim at Old Tom Reef. So we are fortunate to have Nicholas describing his day’s work in his own words. Reference: Michelle Dennis Family History http://www.michelledennis.com.au/?page_id=1067) The Old Tom Mine site is situated between Old Tom Road, Scotsman Road, Eaglehawk-Neilborough Road and an unnamed road, Whipstick VIC 3556. The Marong Heritage Study, Mining Sites ( City of Greater Bendigo) describes the former mine site as follows: '40 metre-long mullock heap with one dumping line running north from a filled shaft. The heap has been partially quarried. 20 metres south is a scatter of red hand-made bricks and rough concrete rubble. Further south there are smaller mullock dumps and a line of shallow reef workings Surface workings 30 metres west of the mullock dump, running north, is a line of small mullock paddocks, terminating in a shallow open cut. On the same line to the south, in an area north and west of the most southerly section of reef workings there is an area of hydraulic sluicing. West of the cyanide works and along Scotchman Gully there are patches of shallow alluvial workings. Battery site On the eastern side of the open-cut is a small mullock paddock, below which is a spread of hand-made red bricks and fire bricks. Near this rubble is a dry dam, with traces of battery sand nearby. Puddling machine site 10 metres north of the water race is the outline of a 20 foot diameter puddling machine. The central mound retains its wooden post and fragments of timber side-boarding are still present in the puddling trench. Water was fed to the puddling machine from the race by a pipe, now largely buried. The dumps are weathered and partially quarried, but the puddling machine is in good con 40 metre-long mullock heap with one dumping line running north from a filled shaft. The heap has been partially quarried. 20 metres south is a scatter of red hand-made bricks and rough concrete rubble. Further south there are smaller mullock dumps and a line of shallow reef workings Surface workings 30 metres west of the mullock dump, running north, is a line of small mullock paddocks, terminating in a shallow open cut. On the same line to the south, in an area north and west of the most southerly section of reef workings there is an area of hydraulic sluicing. West of the cyanide works and along Scotchman Gully there are patches of shallow alluvial workings'. Reference: https://www.goldfieldsguide.com.au/explore-location/553/old-tom-mine/ Document. Gold Sale notes for Nicholas Bolle. Papers pinned together covering the years 1868 - 1887 being statement of gold melted and assayed for Nicholas Bolle from the Eaglehawk branch of the Bank of Victoria. A few of the papers are from the Bank of New South Wales - Eaglehawk Branch, Bank of Australasia, Bank of Australasia Gold Office. The earliest statement dated 3 Jul 1868 is for Messrs Harrison & Bashton. Other early ones are for Derbyshire Reef. The Bank of Victoria cards mention R. H. Andrews, Agent on the back. The Bank of Australasia Gold Office statement contains an ink picture of the building on the back.gold sale notes for nicholas bolle, bank of victoria - eaglehawk branch, bank of new south wales, bank of australasia, bank of australasia gold office, messrs harrison & bashton, derbyshire reef, r. h. andrews

Gold Seekers of the 1890's. Nationwide coverage of prospecting, mining and the diggers.Mimi Cilligan.australia, history, mining

McColl Rankin & Stanistreet, Prospecting and Mining for Uranium in Australia. Book soft cover. Published by Australian Atomic Energy Commission and Department of National Development. Notes for the guidance of prospectors. Photographs, charts and diagrams. Date: September 1954.organization, mining, mining, uranium, mccoll rankin & stanistreet, prospecting and mining for uranium in australia 1954 australia atomic energy commission and department of national development prospectors

Australia is governed by a Federal Government and by six State Governments. National coordination of their respective geodetic survey and topographic mapping activities is effected on the advice of a National Mapping Council. Twenty years ago, at least 95% of Australia was poorly mapped and what maps existed were in need of revision. only a small area of the continent was covered by horizontal geodetic control and there was no scheme for a national levelling survey. Over the intervening period there has been an urgent and increasing demand for topographic maps varying from large scale contoured maps in support of specific engineering projects to rapid reconnaissance maps required for mineral prospecting in remote areas. Superimposed on this has been a defence requirement, specifically for military training areas, and generally for maps of the whole country. During the period much progress has been made. This paper reports on the progress from early colonial days through to the present time and finally hazards a prediction of future trends.Photocopy of 18-page typed report including diagrams, stapled top left-hand corner. Geodetic Survey and Topographic Mapping a Report by BP Lambert Director of National Mapping, Department of National Development, Canberra, Australia, 1968.royal australian survey corps, rasvy, fortuna, army survey regiment, army svy regt, asr, national mapping

Hand drawn Coat of Arms for the soldiers known as the Rats of Tobruk with signatures of those involved in the engagement between 5th April to the 22nd of October 1941 The drawing is signed by artist John DOWIE AM, SX6087 who served with the 2/43rd Battalion Signatories are: VX42389 Eric Hamilton, 2/32 Battalion; VX30189 F.Baldwin, 2/23 Battalion; VX34544, F.J.Mc.Intosh 2/24 Battalion; VX34554 W.Harrison, 2/24 Battalion; WX7281 P.Bone 2/25 Battalion; VX33719 Duke Goldsmith, 2/24 Battalion; VX41179 Harry Frazer, 2/24 Battalion; VX29652 A.R.Stribley, 2/24 Battalion; SX6367 Arthur “Jack” Foley, 2/43 Battalion ( died in 1980 buried at Wangaratta); VX48340 Harry Jones, 2/23 Battalion; VX42317 Aub Jarrott, 2/24Battalion; VX28869 Rod Deering 2/24Battalion; VX15719 Ian F. Joss 7th Division AASC; VX19723 Len Dauria, 2/12 Field Regiment; NX35852 R.E (Snowy) Cornelius 2/13 Battalion; VX32559 Jim Gray, 2/24Battalion - James Cyril GRAY Born 6/1/1916 in Orroroo South Australia. Enlisted 28/5/1940 at Mildura. Awarded Military Medal for remarkable coolness, bravery and leadership at Tobruk on 24/4 and 1/5/1941. He was promoted to Sergeant on 14/8/1941, Lieutenant in November 1942 then Captain on 9/4/1945. He was wounded in action on 11/9/1943 and discharged on 20/12/1945. He married and had three children. He died on 10/4/1992 aged 76 and buried at Wangaratta Cemetery.This original drawing is by John DOWIE SX6087 who served with the 2/43rd Battalion during the second world war and is signed by the artist and soldiers from the 2/24th Battalion known as "Wangaratta's Own". John Stuart Dowie AM (15 January 1915 – 19 March 2008) was an Australian painter, sculptor and teacher. He was born in the suburb of Prospect in Adelaide, South Australia, and studied architecture at the University of Adelaide. During World War II, Dowie worked in the Military History Unit of the Australian Imperial Force, and as an assistant to Australia's official war sculptor, Lyndon Dadswell. As a soldier, he was one of the Rats of Tobruk. After studying art in London and Florence, Dowie returned to Australia. His work includes over 50 public sculpture commissions, including the "Three Rivers" fountain in Victoria Square, "Alice" in Rymill Park, the "Victor Richardson Gates" at Adelaide Oval and the "Sir Ross & Sir Keith Smith Memorial" at Adelaide Airport. He was made a Member of the Order of Australia in 1981 in recognition of service to the arts as a sculptor and painter. Dowie died on 19 March 2008, aged 93. There is a similiar version of the drawing on page 32 of the book Desert Sand and Jungle Green by Geoffrey Boss-Walker which is an illustrated history of the 2/43rd Battalion.Timber frame containing hand drawn Coat of Arms consisting of "rats" as shield supporters, crest with a swastika in the centre and motto surrounded by signatures.Signatures of artist John Dowie and soldiers engaged at Tobruk. The crest depicts a latrine and the motto reads NON FASCES SED FAECES (Latin translation - "Do not move but the dregs") rats of tobruk, coat of arms, 1941, john dowie, ww2, middle east, 2/24 battalion, 2/43 battalion

Boyd presents a thorough description of Harold Desbrowe-Annear's 1915 design for The University of Western Australia, Crawley with a focus on siting and how this was revised by Leslie Wilkinson in the late 1920s. Elements of Desbrowe-Annear's original layout plan that were retained, include the placement of the medical school and sporting facilities.Typewritten, carbon copy, foolscap, 12 pagesBlue pen mark up on pages 1, 2, 3, 4, 8, 9, 10, 11. Pencil mark up on pages 5, 6.university of western australia, crawley, harold desbrowe-annear, leslie wilkinson, talbot hobbs, professor whitfeld, w.b. hardwick, a.r.l. wright

Letter from Hector Crawford, Managing Director of Crawford Productions, regarding the prospect of selling ‘The Flying Dogtor’ to HSV 7.The Flying Dogtor" series was broadcast on Australian Television Network (later becoming the Seven Network) between February and April 1964 (see item D254 for schedule).Typewritten, quarto, 2 pagesthe flying dogtor, robin boyd, crawford productions

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. 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

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.Children’s two-piece outfit set, consisting of a top and leggings. Knitted in colour blocks of navy, red and white. Top has ribbed navy bodice section with white stripe separating red skirt and closes at back neck with two navy plastic buttons. Leggings are primarily red, with a white stripe at the ankle and navy-blue feet. Leggings are constructed primarily as one piece and seamed up at centre back and inseam, with additional gusset piece..1) [tag stitched into back neck of top] KATHRYN REGD 100% ACRYLIC FIBRE SIZE 0 WEIGHT 10 LENGTH 76 MADE IN AUSTRALIA .3) [blue sample label] STYLE 574/ Pop Top and B’tts S.26. Acrylic. SIZES: 00 0 PRICE: $8.95 COLORS: Navy/Wht/Red Red/Wht/Navy P.Blue/Wht/Navy Dec on Del.knitwear, clothing, children's knitwear, children's clothing, manufacturing, fashion textile production, machine knitting, clothing set

Sample of Kathryn Knitwear Collection, Label style suggests it may not be manufactured by Kathryn Knitwear, but was retained as a sample. 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.Two Piece pale blue suit, consisting of jumper and leggings with all-over pattern in double moss stitch and garter stitch border. Jumper opens down the back and closes with three pearlescent plastic buttons. Scalloped motif at bottom and cuff has white accent. Leggings have closed feet and decorative ties at ankle, and are constructed primarily as one piece and seamed up at centre back and inseam, with additional gusset piece.1) [ label at neck of cardigan] SIZE 000 .2) [some letters cut off label] FIT AGE 0-3 MONTHS WEIGHT 6KG ACRYLIC HAND WASH OR GENTLE MACHINE WASH COLD RINSE [D]O NOT TUMBLE DRY WARM IRON [D]RY CLEANABLE (A) [MA]DE IN AUSTRALIAknitwear, clothing, children's knitwear, children's clothing, manufacturing, fashion textile production, machine knitting, clothing set