This lapel pin originates from the Birkebeiner Lodge in Norway. The cross country ski race which originated there in 1932 was the inspiration for the annual Kangaroo Hoppet Race held in Falls Creek, Victoria. The Kangaroo Hoppet is Australia's premier long distance cross country ski race, and a member of the prestigious Worldloppet series of international cross country ski events. The first race at Falls Creek was held in 1979 under the name of “Australian Birkebeiner”. The course started and finished at the alpine ski village of Falls Creek, and took participants out into the wilderness area of the Bogong High Plains. Later, 42km became the main distance and after a few name changes, the name of Kangaroo Hoppet was adopted in 1990. The lapel pin was owned and donated by Diana Patterson who was a talented cross country skier. She was born in Tasmania and originally pursued a career as a physical education teacher. After making a major career change, she applied to join the Australian Antarctic Division. She applied four times before she was accepted. Diana first travelled to the Antarctic in October 1987. By this time only ten Australian women had spent a winter there. She first worked at Casey Station, before becoming leader at Mawson Station therein becoming the first female leader of an Antarctic base of any nation. After retiring Diana guided tourist expeditions to the Antarctic for many years, as well as continuing work in research and conservation. In 2012 she published her story “The Ice Beneath My Feet: My Year In Antarctica”. Diana Patterson was awarded the Medal of the Order of Australia (OAM) for "service to conservation and the environment”. As well as these outstanding career achievements, Diana has been a Board Member of both the Mt. Buller Alpine Resort Management Board, including a period as Chairman, and also the Falls Creek Resort Management Board. She was also a founding member of Falls Creek Historical Society.This medal belonged to a highly recognised Australian and founding member of the Falls Creek Historical Society.A small gold lapel pin from the Birkebeiner Lodge in the form of a Nordic skier with the name beneath it.diana patterson, falls creek, cross country skiing, kangaroo hoppet

The story behind this little gold watch is intriguing. The condition of the watch certainly shows the effects of time in the sea. Some inner workings can be seen through broken encrustations and missing sections of the watch’s case. The winding knob on the top is recognisable even though it is covered by sand and other adhesions from the sea. The manufacturer of this dainty watch may have made it for a female, and the value of the gold metal case shows that it would be marketed for a person with wealth. The watch was donated along with a letter, an envelope and a newspaper cutting, all neatly folded and tucked with the watch into a small, strong cardboard box with metal reinforcing on the corners and a fitted lid. The letter is dated March 6, 1905, and its sender writes about the ‘souvenir’ lady’s gold watch found in Loch Ard Gorge at Port Campbell, though the finder remains unnamed. The letter’s date is also uncertain, as there are only 27 years, not 28, between its date and the date the Loch Ard was wrecked (1905-1878 = 27). The signature on the letter appears to be ‘Wyon’, which is the name of a creek in NSW, and also the name of the renowned William Wyon, medallist and engraver of British coins, medals and stamps; and continued as Wyon and Sons, London. The envelope has a postmark for Florence (Firenze), Italy. It is stamped October 12th, 1911 (12.10.11). It is addressed to an illegible name, then Glencove, Portsea, Victoria, Australia: 'Glencove, Portsea' is referred to in newspapers between 1927 and 1949. The newspaper cutting puts the watch into its context, telling the story of the wreck of the Loch Ard, the survival of only two of the 54 people onboard, and a little of the survivors’ future events. It doesn’t single out the watch in any way. Any one of the 17 passengers sailing on the Loch Ard could have owned the watch, including Dr. Carmichael, his wife, Eva, their other three daughters, and two of their sons. Instead of belonging to anyone onboard, it may have been amongst the cargo, as the ship’s manifest includes ‘clocks and watches £25’. The donated watch was carefully packaged with related documents, showing respect for this small shipwreck artefact, which is nearing 150 years of age at the time of writing (2025). The watch’s connection to the sands of Loch Ard Gorge also connects it to the ship Loch Ard, contributing to our knowledge of personal items brought to Australia in 1878, whether as the belongings of a passenger or as cargo; a gold watch would be intended for a wealthy buyer. Although many people would have visited the shipwreck site, it was revealed over 25 years after the Loch Ard was wrecked; this length of time helps us understand the effects of the sea on shipwreck objects. The watch is significant for its connection to the infamous Loch Ard, where only two of the 54 people on board survived.Ladies' fob watch, thought to be gold. It is now covered in encrustation. A bump on the edge would be the winding mechanism for the watch. A small section of the back of the case has broken away, and an engraved surface can be seen. Face and hands are missing, revealing the spring workings inside. Donated with the watch were two documents and a newspaper cutting about the story of the shipwreck of the Loch Ard. They are all in a strong cardboard box with reinforced corners on the base and lid. Found at Loch Ard Gorge and said to have been from the Loch Ard. The three donated documents are: - 1. A rectangular envelope made of cream waxy paper lined with black and white diagonally striped paper. The top right corner, usually meant for a postage stamp, has been torn off, partly exposing text on a rectangular printed logo. A round black postmark stamp near the top centre shows the post office location and date. The address on the front is handwritten in black ink. The creases on the envelope suggest it has been folded three times. 2. A letter on cream rectangular paper features clear, handwritten script in black ink. The unevenly cut bottom edge has two short black vertical lines, possibly the tops of tall written letters. There are creases where the page has been folded three times. 3. A newspaper clipping featuring text, an illustration, and handwritten details of the newspaper’s source.1. Envelope: - Address: ”Australia (per Postage) / (illegible) / Glencove, (Portsea) / Victoria” Postmark: “FIRENZE” 12 10 11” “ - - - -PORTEN – (illegible)” Logo inside envelope: “BUSTA BRE--- / Earliera Lialia” [Italian; Busta = envelope, Earliera == earlier] 2. Letter: - “I am sending you a ‘souvenir’ from the wreck of the Loch Ard 28 years ago at Port Campbell. It is the remains of a lady’s gold watch found in the gorge where Miss Carmichael & Tom Pearce (the only two saved) were washed up. This souvenir was lying there ever since. I went down into the awful gorge & saw the cave where these two unfortunates (or fortunate perhaps, as they were saved) lived until rescued. I also saw the graves of those who were washed up from the wreck. One grave contains Dr and Mrs Carmichael & six of their children. Later on, when I can get some good views of that wild coast I will send them. [signed] Wyon. 6/3/05.” 3. Newspaper cutting: - History of the Lochard. Refer to the Sydney Morning Herald, Nov. 28th, 1971: “Loch Ard: the wreck that became a legend”flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, ladies fob watch, gold watch, fob watch, pocket watch, horology, accessory, time keeping, scientific instrument, ladies' watch, ladies' pocket watch, diagonally striped envelope lining, glencove, portsea victoria, firenze, busta, earliera, souvenir watch, loch ard souvenir, lady's watch, port campbell, tom pearch, survivor, miss carmichael, mrs carmichael, dr carmichael, wyon, 1878, 1905, 1911, loch ard: the wreck that became a legend, florence, clocks and watches

A box covered in Christmas paper containing items related to the Cohn family. (i) A yellow folder titled 'Press cuttings and articles of Ola Cohn.' Items of interest include articles relating to Ola Cohn, her work and her home and the Cohn family and their drink company Cohns Pty. Ltd. Sources are 'The Age,' 'The Sun,' 'The Australian Home Beautiful,' 'The Herald' and 'The Bendigo Advertiser.' Dated between 1932 and 1968. (ii) A book written by Ola Cohn titled ''Mostly Cats,'' written in 1964.Ola Cohnperson, family, ola cohn, lydia chancellor, collection, cohn family, cohn bros. pty. ltd., manufacturing, ola cohn, women, pottery, ceramics, art, art work, book, literature, female, person, sculpture, famous people, fairy tree, mostly cats, animals, pets, cats

Letter to an unidentified Life Member asking for assistance in organising fundraising events to support Special Blind Appeal. The letter continues on to a second page, however this is missing. This is an example of a joint appeal between the RVIB and the AAFB, who usually preferred to work independently.1 photocopied letter with illustrations at topTop left hand corner is a lighthouse with the words 'Education and Maintenance of Blind Children, Industrial Professional Training Etc of Blind Adults, Homes Etc for Aged and Infirm Blind' written on the tower. The light that shines towards a female child and an adult male who are both wearing blindfolds, contains the wording 'Special 50,000 (pound) appeal for the Blind Children & Adults of Victoria". To immediate left of the people is written "Blind/and seeking the light/your generous donation will help them find it'. To the right of the rocks upon the which the lighthouse stands "Kindly address donations Hon. Treas. of Blind Appeal, The Lord Mayor of Melbourne, Cr. Harold Luxton M.L.A., Town Hall, Melbourne". Underneath the lighthouse against the left edge of the paper "Institutes participating in this appeal - The Royal Victorian Institute for the Blind and the Association for the Advancement of the Blind - these organisations care for the blind of Victoria from the cradle to the grave. Please address all correspondence S.W,. Hedger, Secretary Blind Appeal, Royal Victorian Institute for the Blind, St Kilda Road, Prahran, S.1. Vic, Phone W 6500. Blind Appeal Enquiry Office: Nicholas Building, 5th Floor Swanston Street, Melbourne, Phone F 6418."royal victorian institute for the blind, association for the advancement of the blind, fundraising

Following military service in the second world war, Clifton Pugh studied under artist Sir William Dargie at the National Gallery School in Melbourne as well as Justus Jorgensen, founder of Montsalvat. For a while he lived on the dole but also worked packing eggs for the Belot family saving sufficient to purchase six acres (2.4 ha) of land at Barreenong Road, Cottles Bridge. He accumulated more land and persuaded several other artists and friends to buy land nearby, resulting in a property of approximately 200 acres, stablishing it as one of the first artistic communes in Australia alongside Montsalvat in Eltham. It was around 1951 that Pugh felt he had '"done moochin' around" and so the name of the property evolved. He bought timber from Alistair Knox to build his house on the crest of a hill. Inspired by local goldminer's huts, it was a one room wattle-and-daub structure with dirt floor. Over the years it expanded with thick adobe walls made from local clay, high ceilings and stone floors. All materials other than the local earth were sourced from second hand materials, most found at wreckers' yards. Artists from across the nation were drawn to Dunmoochin, with several setting up houses and shacks on the property, maintaining their independence but sharing their artistic zeal. Artists who worked or resided at Dunmoochin included Mirka Mora, John Perceval, Albert Tucker, Fred Williams, Charles Blackman, Arthur Boyd and John Olsen. In 2002, Pugh's house along with its treasure trove of art and a library of some 20,000 books was destroyed by fire. Traces of Pugh's home remain with the presence of the Victorian doorframe archway with leadlight of intricate design, procured from a demolished Melbourne mansion; and two bronze life-sized female statues created by Pugh and cast by Matcham Skipper. In place of Pugh's house rose two double-storey mud-brick artists' studios topped with corrugated iron rooves curved like the wings of a bird with accommodation for seven. The original studios, gallery and other buildings survived the fire.fay bridge collection, 2016-05-14, art gallery, barreenong road, clifton pugh, cottles bridge, dunmoochin, maurice hurry

This handmade green glass bottle was recovered between the late 1960s to early 1970s from the wreck of the sailing ship Loch Ard. The ship was wrecked in 1878 and its remains are located at Mutton Bird Island, near Port Campbell, Victoria and bottles of liquor were listed as part of the Loch Ard’s cargo. All glass is made from silica, which is found in quartz sand. The naturally occurring sand has impurities, such as iron, that determine the colour of the glass. Residual iron leads to green or amber-coloured glass and carbon in the sand makes that glass appear as ‘black’. A strong light behind the glass will show its colour as dark green or dark amber. This handmade bottle appears to have been made in a dip mould, with the molten glass blown into a seamless shoulder-height mould to give the body a uniform symmetrical shape and size. After the body is blown, the glass blower continues blowing free-form (without the mould) to form the shoulder and neck, then the base is pushed up with a tool, and the finish for the mouth is added with his tools. The dip mould gives the body a slightly textured surface, with the free-blown shoulders and neck being smoother and shinier. There is usually a line around the shoulder where the mould of the body meets the shoulder, and a lump or mark in the centre of the base, called a pontil mark, where the push-up tool was removed. The ship Loch Ard was built on the River Clyde in Scotland in 1873 for the prestigious Loch Line of colonial clipper ships, designed for the Australian run. It sailed from England on 1 March 1878 carrying 37 crew, 17 passengers and a diverse general cargo ranging from luxury items to bulk railway iron. On 1 June 1878, emerging from the fog and hearing too late the sound of breakers against the tall limestone cliffs, the vessel struck the southern foot of Mutton Bird Island and sank in 23 metres of water. Of the fifty-four people on board only two survived, one young male crewman, Tom Pearce, and one young female passenger, Eva Carmichael. This bottle is historically significant as an example of liquor bottles imported into to Colonial Victoria in the mid-1800s to early-1900s. The bottle is also significant for being part of Flagstaff Hill’s collection of artefacts from the Loch Ard, which is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. The collection is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417. The collection has additional significance because of the relationship between the objects, as together they have a high potential to interpret the story of the Loch Ard. The Loch Ard collection is archaeologically significant as the remains of a large international passenger and cargo ship. The Loch Ard collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The shipwreck is one of the worst, and best-known, shipwrecks in Victoria’s history.Bottle, green glass wine bottle with contents. Glass has ripples and crease lines. The mouth has a seal in place. The applied lip is cracked. It has a deep pushed-up base with a pontil mark. Handmade with no seams in the body. The contents smell like apple cider vinegar. flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, loch ard, mutton bird island, eva carmichael, tom pearce, john chance, bottle, antique bottle, bulge neck bottle, handmade, dip mould, mouth blown, pontil base, blown bottle, liquor bottle, ale bottle, green glass

This handmade black glass bottle was recovered between the late 1960s to early 1970s from the wreck of the sailing ship Loch Ard. The ship was wrecked in 1878 and its remains are located at Mutton Bird Island, near Port Campbell, Victoria and bottles of liquor were listed as part of the Loch Ard’s cargo. All glass is made from silica, which is found in quartz sand. The naturally occurring sand has impurities, such as iron, that determine the colour of the glass. Residual iron leads to green or amber-coloured glass and carbon in the sand makes that glass appear as ‘black’. A strong light behind the glass will show its colour as dark green or dark amber. This handmade bottle appears to have been made in a two-piece dip mould, with the molten glass blown into a seamless shoulder-height mould to give the body a uniform symmetrical shape and size. After the body is blown, the glass blower continues blowing free-form (without the mould) to form the shoulder and neck, then the base is pushed up with a tool, and the finish for the mouth is added with his tools. The dip mould gives the body a slightly textured surface, with the free-blown shoulders and neck being smoother and shinier. There is usually a line around the shoulder where the mould of the body meets the shoulder, and a lump or mark in the centre of the base, called a pontil mark, where the push-up tool was removed. The ship Loch Ard was built on the River Clyde in Scotland in 1873 for the prestigious Loch Line of colonial clipper ships, designed for the Australian run. It sailed from England on 1 March 1878 carrying 37 crew, 17 passengers and a diverse general cargo ranging from luxury items to bulk railway iron. On 1 June 1878, emerging from the fog and hearing too late the sound of breakers against the tall limestone cliffs, the vessel struck the southern foot of Mutton Bird Island and sank in 23 metres of water. Of the fifty-four people on board only two survived, one young male crewman, Tom Pearce, and one young female passenger, Eva Carmichael. This bottle is historically significant as an example of liquor bottles imported into to Colonial Victoria in the mid-1800s to early-1900s. The bottle is also significant for being part of Flagstaff Hill’s collection of artefacts from the Loch Ard, which is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. The collection is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417. The collection has additional significance because of the relationship between the objects, as together they have a high potential to interpret the story of the Loch Ard. The Loch Ard collection is archaeologically significant as the remains of a large international passenger and cargo ship. The Loch Ard collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The shipwreck is one of the worst, and best-known, shipwrecks in Victoria’s history.Bottle, black glass wine bottle with contents. Glass has ripples, crease lines and side seams. The mouth has a seal in place. The applied lip is wide. The base has been pushed-up base and has a pontil mark. Handmade with a ridge in the body around the base of the shoulder. The bottle has a white sticker.flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, loch ard, mutton bird island, eva carmichael, tom pearce, john chance, bottle, antique bottle, bulge neck bottle, handmade, dip mould, mouth blown, pontil base, blown bottle, liquor bottle, ale bottle, black glass, black bottle

This handmade black glass bottle was recovered between the late 1960s to early 1970s from the wreck of the sailing ship Loch Ard. The ship was wrecked in 1878 and its remains are located at Mutton Bird Island, near Port Campbell, Victoria and bottles of liquor were listed as part of the Loch Ard’s cargo. All glass is made from silica, which is found in quartz sand. The naturally occurring sand has impurities, such as iron, that determine the colour of the glass. Residual iron leads to green or amber-coloured glass and carbon in the sand makes that glass appear as ‘black’. A strong light behind the glass will show its colour as dark green or dark amber. This handmade bottle appears to have been made in a two-piece dip mould, with the molten glass blown into a seamless shoulder-height mould to give the body a uniform symmetrical shape and size. After the body is blown, the glass blower continues blowing free-form (without the mould) to form the shoulder and neck, then the base is pushed up with a tool, and the finish for the mouth is added with his tools. The dip mould gives the body a slightly textured surface, with the free-blown shoulders and neck being smoother and shinier. There is usually a line around the shoulder where the mould of the body meets the shoulder, and a lump or mark in the centre of the base, called a pontil mark, where the push-up tool was removed. The ship Loch Ard was built on the River Clyde in Scotland in 1873 for the prestigious Loch Line of colonial clipper ships, designed for the Australian run. It sailed from England on 1 March 1878 carrying 37 crew, 17 passengers and a diverse general cargo ranging from luxury items to bulk railway iron. On 1 June 1878, emerging from the fog and hearing too late the sound of breakers against the tall limestone cliffs, the vessel struck the southern foot of Mutton Bird Island and sank in 23 metres of water. Of the fifty-four people on board only two survived, one young male crewman, Tom Pearce, and one young female passenger, Eva Carmichael. This bottle is historically significant as an example of liquor bottles imported into to Colonial Victoria in the mid-1800s to early-1900s. The bottle is also significant for being part of Flagstaff Hill’s collection of artefacts from the Loch Ard, which is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. The collection is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417. The collection has additional significance because of the relationship between the objects, as together they have a high potential to interpret the story of the Loch Ard. The Loch Ard collection is archaeologically significant as the remains of a large international passenger and cargo ship. The Loch Ard collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The shipwreck is one of the worst, and best-known, shipwrecks in Victoria’s history.Bottle, black glass wine bottle with contents. Glass has ripples, and crease lines and the neck has side seams. The mouth has a seal, the top of which comes away from the rest of the seal. The applied lip is wide. The base has been pushed-up base and has a pontil mark. Handmade with a ridge in the body around the base of the shoulder. The contents have no colour or odour. The bottle has a white sticker.flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, loch ard, mutton bird island, eva carmichael, tom pearce, john chance, bottle, antique bottle, bulge neck bottle, handmade, dip mould, mouth blown, pontil base, blown bottle, liquor bottle, ale bottle, black glass, black bottle

This dress was worn by Brighton's first female mayor, Councillor Di Lopez, to a Mayoral Ball held at Brighton Technical School in 1977. Diane Margaret Lewis completed a law degree at the University of Melbourne, later marrying one of her classmates, criminal lawyer Ramon (Ray) Lopez. When she decided to run for the Brighton City Council in 1975, she was seen as an outside chance. Undeterred, she rallied a small group of friends and supporters and set out on an extensive door-knocking campaign that won voters to her side and successfully unseated former mayor Keith Devenport. She went on to serve two terms on council from 1975 to 1981. Di initiated many local projects, including the creation of a bike path along Nepean Highway and the first Brighton Festival, while balancing family life and a demanding ‘day job’ as personal assistant to Victorian Minister for Youth, Sport and Recreation Brian Dixon. She was a member of the Women’s Electoral Lobby and a champion for women’s representation, encouraging both Sally Allmand and Kate Harman to run for council (both were successfully elected). She advocated forcefully for an open, transparent local government in which ratepayers had the chance to participate and be heard. In 1976 Di became the first woman to hold the title of Mayor of Brighton, and she made it clear from the outset that she was going to do it her way. For the annual mayoral ball in 1977, ordinarily a staid traditional function, she chose a discotheque theme based on the Rod Stewart album Night on the Town, with a broad dress code of ‘black tie or jeans’: ‘You’ve got to get with the times,’ she said. ‘We want people to wear whatever they feel comfortable in.’ Di herself chose to attend in this knee-length chamois dress embellished with strings, ribbons, beads and feathers. It was both a fashion statement, exemplifying her colourful, flamboyant and forthright style, and a political one: a declaration of her intention to lead a progressive council, embracing the new and refusing to be hemmed in by dated traditions. In 2020 she was awarded an Order of Australia Medal for her service to local government and to the community of Brighton.This dress has local historical significance for its association with Brighton's first female mayor, Councillor Di Lopez, who wore it to a Mayoral Ball in 1976. The dress exemplifies her flamboyant reputation, modern outlook and willingness to break norms. At the time, the dress was a radical choice for a Mayoral Ball, where women typically wore formal evening gowns. With her choice of dress, Cr Lopez was making a public statement, breaking away from dated traditions and announcing her intention to bring the Mayor's office into the 1970s. In this way, the dress also points to the wider social and political changes taking place both in Brighton and across Australia during the mid-1970s.Three quarter length chamois dress circa 1974. Machine stitched with a v-neck and full length sleeves and an uneven raw hem, the dress is decorated with narrow thongs of chamois embellished with red beads and blue feathers. The open-fronted bodice is laced with red ribbon and the skirt is decorated with a large blue wool cross stitch and a combination of blue wool and purple ribbon cross stitch. Made in the style of an Indian 'Wild West Dress'.di lopez, chamois, brighton, brighton council, brighton technical school, mayoral ball, 1970s, feminism

Faded, sepia toned photograph, with stained cream-coloured cardboard mount and timber frame. The photograph was taken on 19 October 1877 and features the building then used by Ballarat College on the grounds of St Andrews Kirk, Sturt Street Ballarat. The foundation stone for this building was laid 12th September 1874. Grouped in front of the building are a line of 13 girls and two boys. Behind them stands a line of 26 older looking girls, and three men stand in the background. From 1877-1891 Ballarat College was co-educational, so it is likely that the girls in this photograph are the first years’ cohort of female students in 1877. The woman standing to the far right, a little apart from the line of girls could be the ‘Lady Principal’. Handwritten on the back of the photograph: ‘F.I. Schulze / Oct 19th 1877 / Ballarat College Sturt St. / In posse(s)ion (sic) of Florence Hewett - nee Schultze / died 1935 / Presented by her daughter / Irene Hewett' Florence Ida Schultze (PY1882) attended Ballarat College from 1877-1882. She married George Hewett (1878) who attended in 1877. George’s two sisters, Mary (PY1877) and Margaret (PY1881) also attended Ballarat College. It is highly likely that all four old collegians are in this photograph. Florence and George’s son, Reginald Schulze Hewett (PY1905) attended Ballarat College from 1902-1905. Their daughter, Irene Harriet Hewett (not a student of Ballarat College) donated this framed photograph to the BCC Archives.Handwritten on back of the photograph: F.I. Schulze / Oct 19th 1877 / Ballarat College Sturt St. / In posse(s)ion (sic) of Florence Hewett - nee Schultze / died 1935 / Presented by her daughter / Irene Hewett'ballarat college, 1877, st andrews kirk

The egg preservation material offered in this tin was during a period in Australia's history (especially in the rural areas) when the "freshness" of produce was not able to be maintained by refrigeration means. Rural towns did rely on the "Ice Works" providing block ice for prolonging "produce shelf life" however semi remote and smaller communities did not have that facility. It was products such as this egg preserving ability that enabled these smaller rural communities to maintain a constant source of healthy "short life" organic produce.This tin which contained egg preservative powder is very significant to a rural region (Kiewa Valley) in the late 1800's to early 1900's. It details the type of food preservative methods that were available to rural areas which lacked proper refrigeration means at their disposal. Basic foodstuff which required "special" preservation means to extend their "shelf" life were sometimes regarded as luxuries by semi remote communities. Kiewa Valley and its regions were typical of these remote communities in the time frame of this egg preservation product. The ability to keep products that deteriorate due to "normal" outdoor temperature (bacterior prone produce) was a factor of rural living.This round "tubular" tin has a indented lid which fits snugly into the top opening. The lid has a rolled out lip which ensures a degree of "air" tightness. The tin is pressed and folded together and has no synthetic inner cover to protect the egg preservative powder from the raw tin surface. This "raw" method was the typical application for all tins containing dry food stuffs in this period(mid 1900's) of goods manufacture. The outer tin surface has a tightly pressed laminated paper label with product and manufacturer's information (promotional, preservation "tips" and usage details - will preserve sixteen dozen eggs). On the "front" side "EGG PRESERVATIVE" underneath "OVO" ,underneath "REGISTERED" and in a double lined enclosed square "AWARDED TWO GOLD MEDALS" underneath is a sketch of a mixing dish containing fourteen visible eggs. The bottom label has within an oval boundary (white print on a blue background) "FOR HOUSEHOLD USE" underneath "OVO" and underneath "PRESERVES EGGS PERFECTLY WITHOUT MESS OR TROUBLE" On the opposite side of the tin is printed "VICKERY'S FIRST & ONLY ORIGINAL EGG PRESERVATIVE - in red print. Underneath this is a "round stamp" with the figurehead(royalty) and these encircling words" TASMANIAN INTERNATIONAL EXHIBITION" with a scrolled "GOLD MEDAL HOBART 1895" with another medal like "medallion" showing another female face with a "warrior" headdress and these encircling words "HONOR TO WHOM HONOR IS DUE". Below this within a scrollis printed "GOLD MEDAL BALLARAT 1896" underneath this is printed "MANUFACTURED BY OVO PROPRIETARY LIMITED BALLARAT"egg preservation, rural food storage, kitchen preservation facilities

Copies of some pages titled Birthplaces of the People. Tables are divided into each shire under the heading of Bendigo. Birthplaces are divided into British Possessions including Victoria and Foreign Countries including France and French Colonies and Other Fountries, At Sea and Unspecified. Bendigo is divided into Sandhurst City - -?- Ward and Sutton Ward, Eaglehawk Borough and Raywood Borough. Marong Shire is divided into North-West Riding which consists of Newbridge Township, Goldworkings and Outside Township and Goldworkings, Bridgewater Township and Myerstown Township. North-East Riding consists of Kangaroo Flat -?- Goldworkings, Eaglehawk Gully Goldworkings, Eaglehawk Flat Goldworkings, Butcher'sHill Goldworkings, Deadhorse Flat Goldworkings,Myers' Flat Goldworkings and -?- Flat Goldworkings. Maiden Gully Goldworkings, Kangaroo Flar Goldworkings, Epsom Township, Neilborough Township, Whipstick Goldworkings, -?- Goldworkings, Sebastian Goldworkings, Sydney Flat Goldworkings, other Goldworkings, Outside Townships and Goldworkings. South Riding of the Marong Shire consists of Ravenswood Township, Big Hill Township, Grusoe Gully Township, -?- and Lockwood Township. Strathfieldsaye Shire consists of the East Riding and the West Riding which consists of Milkmaid Flat Goldworkings, Diamond Hill Goldworkings, -?-, Sheepwash Gully Goldworkings, Spring Gully Goldworkings, Tin-pot Gully Goldworkings, Golden Gully Goldworkings, Kangaroo Flat and Gully Goldworkings and Outside Goldworkings. Huntly Shire consists of the Huntly Township, Huntly Goldworkings, Ascot Township, -?-, and Outside Townships. Each table lists the number of Persons, Males and Females and the places mentioned earlier where they were born. Black marks on paper make some of it unreadable.bendigo, history, long gully history group, the long gully history group - birthplaces of the people - marong, huntly & strathfieldsaye

Black and white photograph taken from St Pauls Cathedral Melbourne, looking south over Princes Bridge, early 1950's. Has nine trams in the view, mainly W2's, but one W3 and many motor vehicles, trucks etc. Shows the gardens in the now Southbank area, the junction just past the bridge of South Melbourne tram line, Wirth Bros Circus and other buildings, Prince Henry's Hospital. In particular is an Olympic pool direction sign hanging below the Batman Ave tram sign. This would have been the pool in Batman Ave, nearer to Flinders St, within the Flinders St yard complex, not the 1956 pool. Directly below is a female pedestrian dress in the classic 1950's "Dior" look. Over the bridge on the west side is "The Trocadero" formerly The Green Mill Dance Hall opened on 07/09/1926. West of that again is "Olympia" run by Wirth's . In the distance is Prince Henry's Hospital, the tall section was built in 1942, since demolished. Rod Atkins noted that the Olympia burnt down in the early fifties about the same the Trocadia closed, so pre 1953. Note the centre pole is still place at the Sturt Street intersection. In Batman Ave we have two W2's 401 and earlier one. In St Kilda Road we have four W2's in foreground in then W3 - No. 667 then a W4 then a SW6 in the distance. Outbound on route 4D is 578, behind it is 340 on route 5. A safety zone is between 578 and 340.Stamped on rear "Australian Official Photograph / Department of Information" and the number "L3121" in pencil.trams, tramways, swanston st, princes bridge, melbourne, south melbourne, tram 401, tram 667, tram 578

Uniform issued to Lieutenant ANC (Australian Navy Cadets) "Patricia Ibbotson", No. 1005777. Commanding Officer of Training Ship Bendigo. Enlisted 26/2/2004 - Admin Officer, 2IC. Acting CO June 2012 Commanding Officer 16/10/2012. Retired 26/02/2016.1. Jacket - Black winter ceremonial, wool/polyester fabric, double breasted with 8 gold plastic buttons embossed with an anchor. Two wavy gold stripes just above sleeve hems, denotes rank of Lieutenant. One stripe has a loop. There are black shoulder flashes with the words "Australian Navy Cadets" embroidered in gold. 2. Trousers - Black wool/polyester fabric with side pockets. Fob pocket, back pocket and belt loops. Nylon and metal zipper fly, Black polyester pocket lining. 3. Shirt - long sleeved with cuff, white cotton/polyester fabric, collar, front breast pockets with button down flap. Shoulder epaulettes, plastic buttons. 4. Shirt - white, short sleeved with shoulder boards. Cotton/polyester fabric, collar shoulder epaulettes, two front pockets, white plastic buttons. Shoulder boards gold ribbon on black fabric with gold plastic embossed buttons. 6. Belt - black with gold buckle. 7. Hat - Tricorne for female officer - black and white colour fabric. Black brim, white crown with black polyester lining. On front is a cloth Officers badge featuring gold laurel wreath surrounding a silver anchor. On top of that is a gold crown with padded insert of red velvet. Around the base is embroidered dots of red, blue and green representing gems. Manufacturers label - black in print - illegible. Handwritten owner's, blue ink pen "IBBOTSON". Manufacturer's label - black ink print on white cotton fabric. 1. "ADI/ 1992/ SIZE 115s/ Bust - 115cm/ Waist 90 cm/ 8410-66-134-3810/ Wool/polyester/ Service No/ Name/DRY CLEAN ONLY." 2. ADA/ 2002/ ^/ NSN 8405 66 137 9251/ Wool/Polyester/ Size: 104L/ Waist:104/ Seat: 125/ NO/ NAME/ DRY CLEAN ONLY. 5. White print on black fabric "AUSTRALIAN TIE CO/ MADE IN AUSTRALIA/ 65% POLYESTER/ 35% VISCOSE/ MADE IN AUSTRALIA/ DRY CLEAN ONLY".uniform, anc, ts bendigo, patricia ibbotson

(1) A program relating to the retirement of Mr.Keith Scarrott the Associate Director of the Bendigo College of Advanced Education. The front page has a cartoon picture of Mr. Scarrott and the words 'Farewell to K.G.S. November77.' The inside cover has an outline of the program followed by the menu for the dinner. The back page has a brief outline of the life of Mr. G. Scarrott. (11) A Bendigo Advertiser newspaper article describing the dinner titled 'College farewells Scarrott.' It also has a photo of Mr. Keith Scarrott with the Master of Ceremonies Mr. Bryan Clemson. Dated 24/11/77.bendigo, education, bendigo teachers' college, la trobe university bendigo collection, collection, bendigo teachers' college, bendigo, education, teaching, programme, program, teachers, students, person, individual, male, female, mr. keith scarrott, mr. bryan clemson, staff, dr. max mckay, bishop oliver heyward, mrs. judy scarrott, miss alice downward, mrs. val broard, miss elizabeth mcconnell, mr. doug mcdonell, mr. brian geary

A Bendigo Gazette article dated 30/11/77 with the headline 'Keith Scarrott retires from the BCAE.' The retirement dinner was held in the dining room of the Osborne Street Campus of the Bendigo College of Advanced Education. See 3320.100bendigo, education, mr. keith scarrott, la trobe university bendigo collection, collection, education, tertiary education, teacher training, mr. keith scarrott, miss j.c. burnett, mr. geoff pryor, dr. max mckay, bishop o. heyward, mr. d. mcdonnell, mr. brian geary, mr. brian clemson, mrs. judy scarrott, staff, bendigo teachers' college staff, bendigo teachers' college, history, male, individual, female, person, staff, bendigo gazette, retirement

Visit to Dunmoochin prior to Clifton Pugh's home being destroyed by fire in 2002. Following military service in the second world war, Clifton Pugh studied under artist Sir William Dargie at the National Gallery School in Melbourne as well as Justus Jorgensen, founder of Montsalvat. For a while he lived on the dole but also worked packing eggs for the Belot family saving sufficient to purchase six acres (2.4 ha) of land at Barreenong Road, Cottles Bridge. He accumulated more land and persuaded several other artists and friends to buy land nearby, resulting in a property of approximately 200 acres, stablishing it as one of the first artistic communes in Australia alongside Montsalvat in Eltham. It was around 1951 that Pugh felt he had '"done moochin' around" and so the name of the property evolved. He bought timber from Alistair Knox to build his house on the crest of a hill. Inspired by local goldminer's huts, it was a one room wattle-and-daub structure with dirt floor. Over the years it expanded with thick adobe walls made from local clay, high ceilings and stone floors. All materials other than the local earth were sourced from second hand materials, most found at wreckers' yards. Artists from across the nation were drawn to Dunmoochin, with several setting up houses and shacks on the property, maintaining their independence but sharing their artistic zeal. Artists who worked or resided at Dunmoochin included Mirka Mora, John Perceval, Albert Tucker, Fred Williams, Charles Blackman, Arthur Boyd and John Olsen. In 2002, Pugh's house along with its treasure trove of art and a library of some 20,000 books was destroyed by fire. Traces of Pugh's home remain with the presence of the Victorian doorframe archway with leadlight of intricate design, procured from a demolished Melbourne mansion; and two bronze life-sized female statues created by Pugh and cast by Matcham Skipper. In place of Pugh's house rose two double-storey mud-brick artists' studios topped with corrugated iron rooves curved like the wings of a bird with accommodation for seven. The original studios, gallery and other buildings survived the fire.fay bridge collection, 1995, barreenong road, cottles bridge, dunmoochin

This pressed brass artefact is a highly decorative side bracket for distancing a gas lamp flame from the internal wall of a building. It is hollow and made of light gauge metal, with an innovative aesthetic design, but no internal piping to transport gas. It was recovered from the wreck of the LOCH ARD. There are similar artefacts in the Flagstaff Hill collection. The LOCH ARD left Gravesend (London) on 2 March 1878, bound for Melbourne, with a crew of 37, 17 passengers, and a diverse and valuable cargo of manufactured goods, luxury items, and refined metal. Some of the cargo was destined for display at Melbourne’s first International Exhibition in 1880. At 3 am, 1 June 1878, the ship was wrecked against the high limestone cliffs of Mutton Bird Island on Victoria’s south west coast near Port Campbell. Only two people survived the disaster — Tom Pearce, a male crew member, and Eva Carmichael, a female passenger. The cargo proved too difficult to salvage in the vessel’s exposed condition and was largely written off. The manifest of goods in the LOCH ARD’s holds included “Fittings gas (4 cases)”. The gas lighting of streets, public buildings, and the dwellings of wealthier private citizens was already well-advanced in the cities and major towns of the Australian colonies. In 1841 Sydney was the first to be gas-lit with 23 street lamps, 106 hotel lamps, and 200 private residences connected to the Darlinghurst “gasometer” by an underground network of metal pipes. “The dim days of oil and tallow are gone by!” pronounced one newspaper, flushed with civic pride. The 1850s Gold Rush promoted a similar attitude of confidence and affluence in the Colony of Victoria. In 1855 Melbourne was connected to its own system of subterranean gas pipes despite the same high rates of 25 shillings per 1000 cubic feet being charged, (reduced to 15 shillings in 1865 with cheaper sources of coal). By1858 Kyneton had its own gasworks to light the town (fuelled by eucalyptus leaves) and Geelong followed suit in 1860. Had the LOCH ARD reached its intended destination in 1878, it is probable that the 4 cases of brass gas light fittings on board would have found a ready market.The LOCH ARD shipwreck is of State significance — Victorian Heritage Register S417. The gas light bracket is an example of lamp fittings and plumbing from the late 19th century.A pressed brass lighting bracket recovered from the wreck of the LOCH ARD. It would be used for attaching, but simultaneously offsetting, a gas nozzle to a wall. Highly decorative in an unusually ‘modern’ or ‘art-deco’ style, with sweeping curves dissected by angular geometric pattern, and supporting a short, vertical bar with a gas nozzle on top. It is constructed of light gauge metal, with splitting along seams, and some delicate tracery is missing. Outer surface has been polished, removing sediment, but greenish oxidation remains in dents and joins. warrnambool, shipwreck coast, flagstaff hill, shipwrecked coast, flagstaff hill maritime village, flagstaff hill maritime museum, shipwreck artefact, maritime museum, gas lamps, gas lighting, gas works, brass fittings, gas pipes, loch ard, 1878 shipwreck, victorian affluence, colonial gas lighting

The artefact is a short cross-section of part of a functional part of a brass fitting that suspended a gas lamp, providing structural support, and internally, supplying the gas for its ignition. It combines elegant design with the elements required for safe and efficient delivery of gas. It was recovered from the LOCH ARD shipwreck site. There are similar artefacts in the Flagstaff Hill collection. The LOCH ARD left Gravesend (London) on 2 March 1878, bound for Melbourne, with a crew of 37, 17 passengers, and a diverse and valuable cargo of manufactured goods, luxury items, and refined metal. Some of the cargo was intended for Melbourne’s first International Exhibition to be held in 1880. At 3 am, 1 June 1878, the ship was wrecked against the high limestone cliffs of Mutton Bird Island on Victoria’s south west coast near Port Campbell. Only two people survived the disaster — Tom Pearce, a male crew member, and Eva Carmichael, a female passenger. The cargo proved too difficult to salvage in the vessel’s exposed condition and was largely written off. The manifest of goods in the LOCH ARD’s holds included “Fittings gas (4 cases)”. The gas lighting of streets, public buildings, and the dwellings of wealthier private citizens, was already well advanced in the cities and major towns of the Australian colonies. In 1841 Sydney was the first to be gas lit with 23 street lamps, 106 hotel lamps, and 200 private residences connected to the Darlinghurst “gasometer” by an underground network of metal pipes. “The dim days of oil and tallow are gone by!” pronounced one newspaper, flushed with civic pride. The 1850s Gold Rush promoted a similar attitude of confidence and affluence in the Colony of Victoria. In 1855 Melbourne was connected to its own system of subterranean gas pipes despite the same high rates of 25 shillings per 1000 cubic feet being charged, (reduced to 15 shillings in 1865 with cheaper sources of coal). By1858 Kyneton had its own gasworks to light the town (fuelled by eucalyptus leaves) and Geelong followed suit in 1860. Had the LOCH ARD reached its intended destination in 1878, it is probable that the 4 cases of brass gas light fittings on board would have found a ready market.The gas fitting is significant for its association with the LOCH ARD shipwreck, which is of State significance and is listed on the Victorian Heritage Register S417. The fitting is an example of a late 19th-century plumbing and light fitting.A pressed brass gas light fitting, recovered from the wreck of the LOCH ARD. The elegant and functional fitting extends from an ornate 8cm diameter ceiling flange, and comprises two short lengths of fluted column pipe with a brass joiner that are severed (cut off) at the end. Within this decorative outer layer of 3cm diameter is a full length brass tube liner, which is in turn protecting a narrow 0.75cm copper gas pipe that also runs full length. The artefact is generally unrestored with reddish/cream sandstone concretion, but is in good condition.warrnambool, shipwreck coast, flagstaff hill, shipwrecked coast, flagstaff hill maritime village, flagstaff hill maritime museum, shipwreck artefact, maritime museum, gas lamps, gas lighting, gas works, brass fittings, gas pipes, loch ard, 1878 shipwreck, victorian affluence, colonial gas lighting

This artefact is a functional, non-decorative fitting that essentially transports gas from a wall attachment to a lamp. It is a brass and copper gas lamp fitting, designed to direct and control the flow of gas from a flanged wall fitting to an exit nozzle that was lit. It was raised from the LOCH ARD shipwreck site by Flagstaff Hill divers in 1972. Related pieces can be found in the Maritime Village collection. The LOCH ARD left Gravesend (London) on 2 March 1878, bound for Melbourne, with a crew of 37, 17 passengers, and a diverse and valuable cargo of manufactured goods, luxury items, and refined metal; some of which was to be on show at Melbourne’s first International Exhibition in 1880. At 3 am, 1 June 1878, the ship was wrecked against the high limestone cliffs of Mutton Bird Island on Victoria’s southwest coast near Port Campbell. Only two people survived the disaster — Tom Pearce, a male crew member, and Eva Carmichael, a female passenger. The cargo proved too difficult to salvage in the vessel’s exposed condition and was largely written off. The manifest of goods in the LOCH ARD’s holds included “Fittings gas (4 cases)”. The gas lighting of streets, public buildings, and the dwellings of wealthier private citizens were already well-advanced in the cities and major towns of the Australian colonies. In 1841 Sydney was the first to be gas-lit with 23 street lamps, 106 hotel lamps, and 200 private residences connected to the Darlinghurst “gasometer” by an underground network of metal pipes. “The dim days of oil and tallow are gone by!” pronounced one newspaper, flushed with civic pride. The 1850s Gold Rush promoted a similar attitude of confidence and affluence in the Colony of Victoria. In 1855 Melbourne was connected to its system of subterranean gas pipes despite the same high rates of 25 shillings per 1000 cubic feet being charged, (reduced to 15 shillings in 1865 with cheaper sources of coal). By1858 Kyneton had its gasworks to light the town (fuelled by eucalyptus leaves) and Geelong followed suit in 1860. Had the LOCH ARD reached its intended destination in 1878, the four cases of brass gas light fittings on board would probably have found a ready market.The LOCH ARD shipwreck is of State significance — Victorian Heritage Register S417. Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best known shipwrecks in Victoria’s history. This pipe is a gas lamp fitting. This extensively corroded fitting is made of brass and copper alloy. It comprises a 31 cm copper pipe of 1.5cm diameter which is connected to a 6.5cm diameter wall flange (via a flow tap and an adjustable swivel valve) at one end, and to a screw-in square coupling with a nozzle or gas jet at the other end. The copper pipe is dented and corroded and has three holes. The brass attachments are a more robust cast metal but the adjustable mechanisms are concreted into immobility by ocean sediment. No discernible maker’s marks. In unrestored but fair condition. The pipe with the fitting was recovered from the wreck of the LOCH ARD.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, gas lamps, gas lighting, gas works, brass fittings, gas pipes, loch ard, 1878 shipwreck, victorian affluence, colonial gas lighting

Historical information - RECHABITES - The Star of Kew Tent, No. 260. This branch of the Independent Order of Rechabites was founded in September, 1882, when the following members were installed as the first officers by the district officers, viz. Chief Ruler, Bro. W. H. Bardwell; Deputy Ruler, Bro. C. 
Viney; Past Chief Ruler, Bro. J. V. Morgan; Treasurer, Bro. R. Eyre; Money Steward, Bro. A. Brown; Levite, Bro. W. H. Richardson; Guardian, Bro. J. Wathen; Secretary, Bro. T. J. Eaton. Bros. W. H. Bardwell, T. J. Eaton, and F. J. Legge 
were appointed as trustees. It is interesting to 
note that three of the foundation members, Messrs. Bardwell, Eaton, and Richardson, and still members of the tent. The first meetings were held in the Mission Hall, but for many years the meeting place 
of the tent has been the Kew Town Hall. The funds of the tent have gradually accumulated until at the last audit they amounted to £2,097. For many years past the interest on the funds has been more than sufficient to meet all claims for sick pay. The 
total membership is now 140. The following past secretaries have been mainly instrumental in placing the tent in its present position:-Bros. T. J. Eaton, W. H. Bardwell, C. B. Gray, and C. L. Churcher. The present officers are :- C.R., Bro. R. M. Jones; D.R., Bro. T. H. B. Williams; P.C.R., Bro. C. H. Green; Treasurer, Bro. W. J. Thornton; Secretary, Bro. F. C. W. Hurrell. Junior Branch. A junior branch was founded in 1883, and while its membership has fluctuated considerably according to the enthusiasm of the management, it has been the means of introducing many members to the senior tent. Its membership is now 41. Female Branch. Lily of Kew Tent, No. 20. This branch was formed in October, 1904, and has accomplished good work. Its membership is 38. Much of its success is due to the untiring energy of its secretary, Mrs. J Jaycock. Source: Barnard, FGA, Jubilee History of Kew, Victoria, 1910This document forms part of a large collection of material assembled by the Rogers family of Kew and donated by the family to the Kew Historical Society by Dorothy Rogers or by her sons. The items in the collection have social and spiritual significance and are also historically significant. Items such as this coloured lithograph have a degree of artistic and aesthetic significance as representative examples of the certificate designers art in the 19th Century. A certificate awarded to W. H. Richardson (the father of the historian Dorothy Rogers) by the ‘Juvenile Tent No.157 in appreciation of his role as ‘Superintendent’. The certificate notes that 1887 was the fourth anniversary of the Juvenile Tent. The Star of Kew Tent No. 260 had been formed in 1882 as a branch of the Independent Order of Rechabites. W. H. Richardson was a founding member.star of kew tent no.260, independent order of rechabites, william h richardson, rogers collection, testimonials

RECHABITES. The Star of Kew Tent, No. 260. This branch of the Independent Order of Rechabites was founded in September, 1882, when the following members were installed as the first officers by the district officers, viz. Chief Ruler, Bro. W. H. Bardwell; Deputy Ruler, Bro. C. 
Viney; Past Chief Ruler, Bro. J. V. Morgan; Treasurer, Bro. R. Eyre; Money Steward, Bro. A. Brown; Levite, Bro. W. H. Richardson; Guardian, Bro. J. Wathen; Secretary, Bro. T. J. Eaton. Bros. W. H. Bardwell, T. J. Eaton, and F. J. Legge 
were appointed as trustees. It is interesting to 
note that three of the foundation members, Messrs. Bardwell, Eaton, and Richardson, and still members of the tent. The first meetings were held in the Mission Hall, but for many years the meeting place 
of the tent has been the Kew Town Hall. The funds of the tent have gradually accumulated until at the last audit they amounted to £2,097. For many years past the interest on the funds has been more than sufficient to meet all claims for sick pay. The 
total membership is now 140. The following past secretaries have been mainly instrumental in placing the tent in its present position:-Bros. T. J. Eaton, W. H. Bardwell, C. B. Gray, and C. L. Churcher. The present officers are :- C.R., Bro. R. M. Jones; D.R., Bro. T. H. B. Williams; P.C.R., Bro. C. H. Green; Treasurer, Bro. W. J. Thornton; Secretary, Bro. F. C. W. Hurrell. Junior Branch. A junior branch was founded in 1883, and while its membership has fluctuated considerably according to the enthusiasm of the management, it has been the means of introducing many members to the senior tent. Its membership is now 41. Female Branch. Lily of Kew Tent, No. 20. This branch was formed in October, 1904, and has accomplished good work. Its membership is 38. Much of its success is due to the untiring energy of its secretary, Mrs. J Jaycock. Source: FGA Barnard, Jubilee History of Kew, Victoria, 1910This document forms part of a large collection of material assembled by the Rogers family of Kew and donated by the family to the Kew Historical Society by Dorothy Rogers or by her sons. The items in the collection have social and spiritual significance and are also historically significant. Items such as this coloured lithograph have a degree of artistic and aesthetic significance as representative examples of the certificate designers art in the 19th Century.A colour lithograph, following a standard Rechabite design recording that Sister Richardson (later the historian Dorothy Rogers) joined the Junior Section of the Star of Kew Tent of the Independent Order of Rechabites on 17 February 1915. The certificate features biblical scenes and figures exhorting ‘Truth and Temperance’ and ‘Love and Purity’.independ, independent order of rechabites, dorothy (richardson) rogers, membership certificates, rogers collection, lily of kew tent, no. 20

Extract fro FGA Barnard - Jubilee History of Kew 1910 RECHABITES.-The Star of Kew Tent, No. 260. This branch of the Independent Order of Rechabites was founded in September, 1882, when the following members were installed as the first officers by the district officers, viz. Chief Ruler, Bro. W. H. Bardwell; Deputy Ruler, Bro. C. 
Viney; Past Chief Ruler, Bro. J. V. Morgan; Treasurer, Bro. R. Eyre; Money Steward, Bro. A. Brown; Levite, Bro. W. H. Richardson; Guardian, Bro. J. Wathen; Secretary, Bro. T. J. Eaton. Bros. W. H. Bardwell, T. J. Eaton, and F. J. Legge 
were appointed as trustees. It is interesting to 
note that three of the foundation members, Messrs. Bardwell, Eaton, and Richardson, and still members of the tent. The first meetings were held in the Mission Hall, but for many years the meeting place 
of the tent has been the Kew Town Hall. The funds of the tent have gradually accumulated until at the last audit they amounted to £2,097. For many years past the interest on the funds has been more than sufficient to meet all claims for sick pay. The 
total membership is now 140. The following past secretaries have been mainly instrumental in placing the tent in its present position:-Bros. T. J. Eaton, W. H. Bardwell, C. B. Gray, and C. L. Churcher. The present officers are :- C.R., Bro. R. M. Jones; D.R., Bro. T. H. B. Williams; P.C.R., Bro. C. H. Green; Treasurer, Bro. W. J. Thornton; Secretary, Bro. F. C. W. Hurrell. Junior Branch. A junior branch was founded in 1883, and while its membership has fluctuated considerably according to the enthusiasm of the management, it has been the means of introducing many members to the senior tent. Its membership is now 41. Female Branch. Lily of Kew Tent, No. 20. This branch was formed in October, 1904, and has accomplished good work. Its membership is 38. Much of its success is due to the untiring energy of its secretary, Mrs. J Jaycock.Large framed photograph, of the Kew Rifle Club in 1913.I.O.R GAMES TOURNAMENT / KEW RIFLE TEAM WINNERS 1913. / C. Jenkins - A. Smith - L. Carter - J. Pinniger - A. Rowe - W.H. Richardson (Capt)"kew rechabites, w.h. richardson, kew rifle team

About the 1992 Barcelona Olympic Games donor Doug Pleasance wrote- During the 1980s the Australian wool industry was at its most prosperous times with record numbers of sheep producing wool receiving ever increasing values due to the success of the Reserve Price Scheme, and the overall guidance of the Australian Wool Corporation (AWC). As a humble technician, my role was a low profile newly created position of Controller, Technical Marketing, where wool was to be marketed on its technical properties, as distinct from the Product Marketing Group which exploited the traditional high profile approach of marketing wool's superior fashion attributes. The Woolmark was the tool central to this approach. The 1992 Barcelona Olympic Games saw an evolutionary change in designer selection. A Declaration of Interest Form was communicated to over forty potential designers. The task and especially tight timelines that were involved deterred many aspirants, however, there remained eight designers with the potential we were seeking. These eight designers were paid $3,000 per submission and the winning designer, Wendy Powitt, was paid $15,000. For the first time the judging panel included two athletes, one male swimmer and one female basketballer, their influence was pivotal. The ensemble consisted of three elements- 1. The Official Uniform which was used for travel and all official functions. This included: a tailored blazer and trouser/skirt (all water repellent) by Fletcher Jones, pure wool olive-green faille fabric by Foster Valley, cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, printed wool tie by TD Noone, wool nylon socks by Holeproof and footwear by Hush Puppy. 2. Opening Ceremony Uniform a lightweight wool fabric printed with floral designs that had been inspired by the work of Australian artist Margaret Preston. This included: Lightweight W/PE shorts by Fletcher Jones in Foster Valley Fabric, socks by Holeproof and footwear by Hush Puppy. 3. Village Clothing was designed to be highly visible garments to make it easy to spot the Aussie and helped to contribute to good team spirit. This included: A pure wool shirt featuring blocks of contrasting colours, and a newly developed stretch 50:50 wool/cotton fabric by Bradmill was made into shorts and jeans by Fletcher Jones.The shirt is sleeveless and in majority cream coloured. Around the hem, buttons and across the front of the shoulders is an appliqued floral design of Australian flowers and leaves inspired by the designs of artist Margaret Preston. The appliqued pattern continues around the bottom hem but not over the shoulders of the shirt.1992 barcelona olympics, sport, athletes, fashion, design, artwork, drawing, uniform

About the 1992 Barcelona Olympic Games donor Doug Pleasance wrote- During the 1980's the Australian wool industry was at its most prosperous times with record numbers of sheep producing wool receiving ever increasing values due to the success of the Reserve Price Scheme, and the overall guidance of the Australian Wool Corporation (AWC). As a humble technician, my role was a low profile newly created position of Controller, Technical Marketing where wool was to be marketed on its technical properties, as distinct from the Product Marketing Group which exploited the traditional high profile approach of marketing wool;s superior fashion attributes. The Woolmark was the tool central to this approach. The 1992 Barcelona Olympic Games saw an evolutionary change in designer selection. A Declaration of Interest Form was communicated to over forty potential designers. The task and especially tight timelines that were involved deterred many aspirants, however, there remained eight designers with the potential we were seeking. These eight designers were paid $3,000 per submission and the winning designer, Wendy Powitt, was paid $15,000. For the first time the judging panel included two athletes, one male swimmer and one female basketballer, their influence was pivotal. The ensemble consisted of three elements- 1. The Official Uniform which was used for travel and all official functions. This included: a tailored blazer and trouser/skirt (all water repellent) by Fletcher Jones, pure wool olive-green faille fabric by Foster Valley, cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, printed wool tie by TD Noone, wool nylon socks by Holeproof and footwear by Hush Puppy. 2. Opening Ceremony Uniform a lightweight wool fabric printed with floral designs that had been inspired by the work of Australian artist Margaret Preston. This included: Lightweight W/PE shorts by Fletcher Jones in Foster Valley Fabric, socks by Holeproof and footwear by Hush Puppy. 3. Village Clothing was designed to be highly visible garments to make it easy to spot the Aussie and helped to contribute to good team spirit. This included: A pure wool shirt featuring blocks of contrasting colours, and a newly developed stretch 50:50 wool/cotton fabric by Bradmill was made into shorts and jeans by Fletcher Jones.8124.1 - The blouse is cream with an Australian floral design inspired by the work of artist Margaret Preston. The blouse has a scoop neck, cream buttons and small triangular cut outs on the sleeves. The shoulder seam runs to the points of the triangle and another across the back of the shoulders to create a rounded design. 8124.2 - Floral print fabric sample, this sample is cut in the shape of the front panel of the blouse but is unsewn. 8124.3 - Floral fabric sample. 8124.4 - Floral fabric sample. 8124.5 - Floral fabric sample.BARCELONA 19921992 barcelona olympics, sport, athletes, fashion, design, uniform

About the 1992 Barcelona Olympic Games donor Doug Pleasance wrote- During the 1980's the Australian wool industry was at its most prosperous times with record numbers of sheep producing wool receiving ever increasing values due to the success of the Reserve Price Scheme, and the overall guidance of the Australian Wool Corporation (AWC). As a humble technician, my role was a low profile newly created position of Controller, Technical Marketing where wool was to be marketed on its technical properties, as distinct from the Product Marketing Group which exploited the traditional high profile approach of marketing wool;s superior fashion attributes. The Woolmark was the tool central to this approach. The 1992 Barcelona Olympic Games saw an evolutionary change in designer selection. A Declaration of Interest Form was communicated to over forty potential designers. The task and especially tight timelines that were involved deterred many aspirants, however, there remained eight designers with the potential we were seeking. These eight designers were paid $3,000 per submission and the winning designer, Wendy Powitt, was paid $15,000. For the first time the judging panel included two athletes, one male swimmer and one female basketballer, their influence was pivotal. The ensemble consisted of three elements- 1. The Official Uniform which was used for travel and all official functions. This included: a tailored blazer and trouser/skirt (all water repellent) by Fletcher Jones, pure wool olive-green faille fabric by Foster Valley, cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, printed wool tie by TD Noone, wool nylon socks by Holeproof and footwear by Hush Puppy. 2. Opening Ceremony Uniform a lightweight wool fabric printed with floral designs that had been inspired by the work of Australian artist Margaret Preston. This included: Lightweight W/PE shorts by Fletcher Jones in Foster Valley Fabric, socks by Holeproof and footwear by Hush Puppy. 3. Village Clothing was designed to be highly visible garments to make it easy to spot the Aussie and helped to contribute to good team spirit. This included: A pure wool shirt featuring blocks of contrasting colours, and a newly developed stretch 50:50 wool/cotton fabric by Bradmill was made into shorts and jeans by Fletcher Jones.A long sleeve cream coloured dress shirt with a detachable printed neck tie. The neck tie is decorated in an Australian floral design inspired by the artist Margaret Preston. The shirt has two breast pockets and double sets of cream buttons. The rear of the shirt is unadorned. 8124.4 - Floral fabric sample. 8124.5 - Floral fabric sample.BARCELONA 19921992 barcelona olympics, sport, athletes, fashion, design, uniform

About the 1992 Barcelona Olympic Games donor Doug Pleasance wrote- During the 1980's the Australian wool industry was at its most prosperous times with record numbers of sheep producing wool receiving ever increasing values due to the success of the Reserve Price Scheme, and the overall guidance of the Australian Wool Corporation (AWC). As a humble technician, my role was a low profile newly created position of Controller, Technical Marketing where wool was to be marketed on its technical properties, as distinct from the Product Marketing Group which exploited the traditional high profile approach of marketing wool;s superior fashion attributes. The Woolmark was the tool central to this approach. The 1992 Barcelona Olympic Games saw an evolutionary change in designer selection. A Declaration of Interest Form was communicated to over forty potential designers. The task and especially tight timelines that were involved deterred many aspirants, however, there remained eight designers with the potential we were seeking. These eight designers were paid $3,000 per submission and the winning designer, Wendy Powitt, was paid $15,000. For the first time the judging panel included two athletes, one male swimmer and one female basketballer, their influence was pivotal. The ensemble consisted of three elements- 1. The Official Uniform which was used for travel and all official functions. This included: a tailored blazer and trouser/skirt (all water repellent) by Fletcher Jones, pure wool olive-green faille fabric by Foster Valley, cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, printed wool tie by TD Noone, wool nylon socks by Holeproof and footwear by Hush Puppy. 2. Opening Ceremony Uniform a lightweight wool fabric printed with floral designs that had been inspired by the work of Australian artist Margaret Preston. This included: Lightweight W/PE shorts by Fletcher Jones in Foster Valley Fabric, socks by Holeproof and footwear by Hush Puppy. 3. Village Clothing was designed to be highly visible garments to make it easy to  spot the Aussie and helped to contribute to good team spirit. This included: A pure wool shirt featuring blocks of contrasting colours, and a newly developed stretch 50:50 wool/cotton fabric by Bradmill was made into shorts and jeans by Fletcher Jones.Olive green knit vest with gold buttons. On the left breast is the Australian emblem with the Olympic rings and "Barcelona 1992" underneath it.BARCELONA 19921992 barcelona olympics, sport, athletes, fashion, design, uniform

About the 1992 Barcelona Olympic Games donor Doug Pleasance wrote- During the 1980's the Australian wool industry was at its most prosperous times with record numbers of sheep producing wool receiving ever increasing values due to the success of the Reserve Price Scheme, and the overall guidance of the Australian Wool Corporation (AWC). As a humble technician, my role was a low profile newly created position of Controller, Technical Marketing where wool was to be marketed on its technical properties, as distinct from the Product Marketing Group which exploited the traditional high profile approach of marketing wool;s superior fashion attributes. The Woolmark was the tool central to this approach. The 1992 Barcelona Olympic Games saw an evolutionary change in designer selection. A Declaration of Interest Form was communicated to over forty potential designers. The task and especially tight timelines that were involved deterred many aspirants, however, there remained eight designers with the potential we were seeking. These eight designers were paid $3,000 per submission and the winning designer, Wendy Powitt, was paid $15,000. For the first time the judging panel included two athletes, one male swimmer and one female basketballer, their influence was pivotal. The ensemble consisted of three elements- 1. The Official Uniform which was used for travel and all official functions. This included: a tailored blazer and trouser/skirt (all water repellent) by Fletcher Jones, pure wool olive-green faille fabric by Foster Valley, cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, printed wool tie by TD Noone, wool nylon socks by Holeproof and footwear by Hush Puppy. 2. Opening Ceremony Uniform a lightweight wool fabric printed with floral designs that had been inspired by the work of Australian artist Margaret Preston. This included: Lightweight W/PE shorts by Fletcher Jones in Foster Valley Fabric, socks by Holeproof and footwear by Hush Puppy. 3. Village Clothing was designed to be highly visible garments to make it easy to  spot the Aussie and helped to contribute to good team spirit. This included: A pure wool shirt featuring blocks of contrasting colours, and a newly developed stretch 50:50 wool/cotton fabric by Bradmill was made into shorts and jeans by Fletcher Jones.Olive green knit vest with gold toned buttons. On the left breast is the Australian emblem with the Olympic rings and "Barcelona 1992" underneath it. The buttons are textured with lines.BARCELONA 19921992 barcelona olympics, sport, athletes, fashion, design, uniform