2 colour photos of the cruise ship Silver Shadow approaching and berthed at Station Pier in 24.01.2004transport - shipping, silver shadow

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. 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.Strip of knitted fabric samples showing the 14 wool colour options for the ladies' line of Kathryn knitwear for the winter season of 1980. Label printed in pale blue paper lists season and colour names and is attached to sample strip with two metal staplesLADIES WOOL COLOR SWATCH WINTER 1980 RED BLACK MAGNOLIA OYSTER SILVER BLUE SHADOW NAVY TEAL GREEN BRACKEN RYE BROWN BURGUNDY DEEP REDfabric sample, textile sample, fabric swatch, textile swatch, fashion textile production, textile manufacturing

Very fine silver drawing of a shadow puppet on red background. Framed. Possibly presented after a visit to Williamstown High School from Indonesian sister school.williamstown high school, indonesian, artwork

These cigarette lighters were called Zippo Lighters. .2) Yea though I walk through the valley of the shadow of death I will fear no evil for I am the evilist son of a bitch in the valley. .3) The Red Figure 1 the 1st Infantry Division US. They were known as The Big Red One. Items souvenired by Peter James Dodd No 217842 while serving in South Vietnam. refer 2436.2P for his service details..1) Cigarette lighter, metal, silver colour with hinged lid for use. Engraving on both sides, 1 depicts a lady with a bird in her palm, the other a poem & date. .2) Cigarette lighter, metal, silver colour with hinged lid for use 1 face has a minature Royal Aust Engineers badge attached. .3) Cigarette lighter, metal, silver colour with hinged lid for use 1 face has a small plaque attached with the figure 1 in red..1) Baria Nui Dat 69-70 (see notes) .2) RAE Vietnam .3) 1st Infantry Division Vietnamcigarette, zippo, accessory

Part of the estate collection of Vietnam veteran Sgt T J Nicholson, Service no: 4410261, who served in 1st Armoured Regiment, Vietnam 1969-70.Wooden shadow box frame with a maroon matt background containing an emu hat plume, a Hunter River Lancers silver plastic corps badge and yellow wool felt shoulder patch of Royal New South Wales Lancers.Hunter River Lancers Royal New South Wales/ Lancershunter river lancers, royal new south wales lancers, nicholson, trevor nicholson, 1st armoured, 441026, lancers, plume

Silver lighter with inscription below and Snoopy cartoon, "Fuck you Red Baron". Vietnam 70-71.Front has a Snoopy cartoon image and text "Fuck you Red Baron" Vietnam 70-71. on back inscription "Yea though I walk through the Valley of the Shadow of Death, I will fear no evil for I am the evilest son of a bitch in the valley"cigarette lighter, 1970-1971 vietnam

Silver cigarette lighter, flint fueled with flip lid. Front depicted with engraving of male-female entwined/ Back engraved with place, date and poem. "Yea though I walk through the valley of the shadow of death I will fear no evil for I am the evilest son of a bitch in the valley"cigarette lighter, vietnam, vung tau, brenton

Common cigarette lighter amongst Australian Servicemen; facilitated calming within stressful situations ie smoking eased stress and fatigue.This lighter will have memories of great significance and feeling with soldiers who had used it after very stressful situations - it would have served to facilitate relief and calmness when most needed including some giving emotional escape from immediate circumstances..Silver lighter with engravings: angel on front and text on back: Silver metal, rectangular shape; flip top.Front: Engraving of classic woman with bird in hand. Rear: Engraved text: Ba Ria Nui Dat 67-68; Yea though I walk through the valley of the shadow of death I will fear no evil for I am the evilest son of a bitch in the valley"".vietnam, vietnam war, diamond valley vietnam veterans sub branch

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

Dame Ella Macknight (1904-1997) was President of the Australian Council, RCOG from 1970-1972. During her term, she commenced discussions with RCOG about Australia breaking away from the Royal College in the UK and becoming a College in their own right. She was appointed as a Dame Commander of the Order of the British Empire on 1 January 1969 for services to medicine. Outside of medicine she was a talented hockey player and golfer, and was the first woman to be awarded a pilot's license in Victoria. Paul Desmond Fitzgerald AM (1922-2017) was a prolific and highly respected portrait painter of prominent individuals, and was an Archibald Prize finalist on multiple occasions. Oil on canvas painting. Colour portrait of a woman seated in a chair. The subject is wearing a white blouse with a red top, with a pleated black, red, grey and white striped skirt. The subject is wearing a black robe with blue front panels and silver trim. with decorative white buttons at cuffs. The crest of the Australian Council, RCOG is attached to either side of the robe at the chest. The subject has grey hair and is facing the artist with her body angled towards the bottom right-hand corner. The left corner of the subject's lip is curled in a slight smile, and is pictured holding a book in her hands. The subject is pictured against a brown background, with her shadow visible in the right middle background. Signature painted at bottom left corner of portrait reads 'Paul Fitzgerald -1990-'. Brass plaque attached to back of painting frame is engraved with the text 'DAME ELLA MACKNIGHT/ President/AUSTRALIAN COUNCIL, RCOG/1970-1972'.