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Bendigo Historical Society Inc.
Document - MERLE HALL COLLECTION: ''COMMUNITY ARTS CENTRE DEPUTATION NOTES''
On front cover is: ''Community Arts Centre - Deputation Notes''. Within this stapled collection are the following: typed notes for presentation at a Public Meeting at Bendigo Municipal Offices (25/6/1975) re the ''establishment of a cultural centre in Bendigo''.J. Cannon with the names of six supportive speakers; handwritten Notes from Public Meeting 25th June 1975 (two pages); handwritten ''Notes from Public Meeting 36 June 75'' (meeting to hear address from Federal Department of Tourism and Recreation (with newspaper advertisements of meeting); Loddon Campaspe Regional Council for Social Development Interim Committee questionnaire for seminar on nine aspects - housing, educational facilities, medical and welfare services, municipal and other public services, transport and communication, conservation features, active and passive recreation, employment, shopping; handwritten notes for Public Meeting 25th June ; handwritten notes re the Plaza theatre being up for sale, letter to The Editor re the recent reported announcement by the City Council of its intention to seek Federal finance to assist in the purchase of the Plaze theatre; two-paged document (letter??) re the problems of keeping the Plaza theatre and, instead, promoting a ''fine modern facility'' of the Bendigo Arts Council (no named author); ; handwritten notes of Sub-committee - Arts Centre Building (Report - J. Cannon); handwritten notes from the ''Tours Officer'' for comments on the past year's activities; handwritten list of 30-40 local people with 'ticks'' for their (potential) interest and time?? -
Bendigo Historical Society Inc.
Document - WHAT A GOOD IDEA: BENDIGO'S INNOVATION, AN EXHIBITION - BENDIGO HISTORICAL SOCIETY SUBMISSION TO THE VICTORIAN COMMUNITY HISTORY AWARDS, 2002
WHAT A GOOD IDEA: BENDIGO'S INNOVATION, AN EXHIBITION - Bendigo Historical Society Submission to the Victorian Community History Awards 8142.4 Two page letter to the Victorian Community History Awards 2003 showing costs etc. and 17 Attachments for the submission; from Helen Mainka (Mrs) Collections Manager 6 Feb 2003 1. Exhibition Proposal 2. Notice to Society members - call for information 3. Example letter seeking input from outside bodies 4. Exhibition preparation timeline 5. Exhibition promotion 6. Flier DL 7. Flier A4 8. Education Information package 9. Puzzle sheet for child visitors to the exhibition 10. Exhibition procedures 11. Supervisors badge 12. Visitor Numers Record sheet 13. Visitors Book (ITEM 8142.2) 14. Exhibition Booklet 15. CD-ROM-Images of interpretive panels and photographs of exhibition (ITEM 8142.1) 16. Reduced (A1-A3) interpretive panels for "Sunday School Picnic" 17. Photograhs of exhibition An Exhibition by Helen Mainka (ed.). Contents include: Acknowledgements, Introduction, Australian Bell, Bendigo Mining, Coliban Water Scheme, Ford's Rock Boring Machine, Goyne's Battery Gratings, Hospital Sunday, The Huntly Bus, Ladies' Cricket Match, Movable Cuff Shirt, New Goldfields Act 1858, Safety Cages, Scalebuoys, School of Nursing, Sunday School Picnic, Taipan Catamarans, Taraxale, Victorian Police Guide, A Bendigo Miscellany, References and Further Reading, List of Artefacts and List of Illustrations.bendigo, industry, what a good idea! - bendigo's innovations - an exhibition, helen mainka (ed.), city of greater bendigo, bendigo historical society inc, joseph martin brady, robert gray ford, john goyne, joseph henry abbott, william bannerman, john edward buchan, joseph a c helm, benedict branch, john henry seymour, william middleton, richard h s abbott jnr, abraham harkness, greg goodall, jim boyer, george albert pethard, george albert pethard jnr, john barry -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Newsletter, CMHS Moorabbin Mirror Vol 8 November 2016, Moorabbin Mirror Vol 8 November 2016, 2016
This is Vol. 8 of the Moorabbin Mirror produced by CMHS members Fran & Holger Bader , Valma Sharp November 2016 The Moorabbin Mirror reflects the history and heritage of the former City of Moorabbin — derived from Mooroobin, ‘a resting place’ in the Bunurrung spoken language. In 1994, the City of Moorabbin was integrated into the Cities of Bayside, Glen Eira, Kingston and Monash. Dr.Rosalie Triolo will give a talk for members on Nov. 27th about Local School Teachers in the 1st AIF CMHS AGM Oct 30th. Mrs Valma Sharp retired from Committee and CMHS The Committee proposed a vote of thanks in appreciation of Valma's long , loyal service to CMHS,Box Cottage Museum . Subscriptions for NEW members will be $15 from January 2017. Next AGM will be July 30th 2017 to coincide with the end of the financial year. Due to the cost of ink and postage the CMHS Newsletter Moorabbin Mirror will be available in pdf via email, CMHS website and Victorian Collections website . Local Libraries can assist members to read and or download a copy. GECC and KCC are respectively supporting CMHS/BCM with Community Grants 2016 for utilities and the purchase of laptop, scanner printer copier for the CMHS Original Newsletter Preservation project. The BCM / CMHS joined Glen Eira HS and Brighton Cemetorians for a Heritage Display at GECC Town Hall Gallery Annexe Nov 3rd - 20th. An article about Robert Haddon 1866-1929, architect. Article about Local Artists includes colour photos. The Adelphi Players 'Robinson Crusoe' Dec 3-11 2016, The BCM 'August Rietman Exhibition 2017' is proceeding with guidance from the MAV Roving Curator. Fran Bader, Project Manager, is seeking images, pressed concrete products,information,and recollections. Also any jewellery by Stefanie Rennick (nee Rietman) who was a teacher at Bentleigh Secondary College. CMHS members attended the Opening of the new Bentleigh Railway Station Nov 12th. CMHS now has a mobile phone for incoming enquiries.This is Vol. 8 of the Moorabbin Mirror, Newsletter of CMHS November 2016A4 x 4 paper folded to A5 x 8pp with colour photographsMoorabbin / Mirror / November 2016 Vol 8 moorabbin mirror, bader fran, bader holger, sharp valma, haddon robert, bent tommy, robertson macpherson, reitman august,, brighton cemetery,, glen eira historical society, glen eira city council, -
The Beechworth Burke Museum
Decorative object - Swinging Clock, Charles Frederick Falck, 1855
This clock was made by Charles Frederick Falck who was a watchmaker and jeweller in Beechworth from 1863-1908. Falck was born in Körlin, Prussia on May 22nd in 1833 and died at the age of 75 in 1908. Ovens and Murray Advertiser, Beechworth: edition June 13, 1908 OBITUARY: Falck was brought up to the business of watch-making, in which he developed exceptional mechanical ingenuity. Attracted by the favourable prospects held out by the Australian discoveries of gold he, like many other young adventurous spirits, left his native land to seek his fortune in the great southern Eldorado, arriving in Adelaide in 1854, and shortly after came to Melbourne where he worked as a journeyman, and subsequently started in business on his own account. Feeling inclined to test his fortune on the goldfields, he went to Blackwood but, meeting with little success, he returned to Melbourne where he was married. In 1862, he moved to Beechworth, where he commenced business as watchmaker and gold-buyer. He then embarked in vine-growing on the Sydney road, but eventually resumed his business avocations. His skill in practical horology was evinced in a clock of his own design and manufacture, surmounted by a golden eagle, which was exhibited at the first Melbourne Exhibition in 1856, and which afterwards formed a pre-eminent attraction in the window of his business premises in Ford Street. For many years, he filled the position of timekeeper to the Beechworth Racing Club, with complete satisfaction also at various sports meetings. He leaves a family of six sons and one daughter (Mrs. Jas. Broadfoot) all arrived at maturity. The funeral, which was well attended by a number of residents, took place at the Beechworth Cemetery on Sunday, the burial service being performed by the Ven. Archdeacon Potter. The cortege was capably supervised by Mr. D. Wilson, undertaker. The clock was returned to Beechworth in 2020 through the generous support of the Copland Foundation. Given that Mr. C. F. Falck traded as a watchmaker and jeweller in Beechworth for 45 years and traded with the 1855 clock mounted in his front window, there is a direct link between the clocks and the social, cultural and economic life of nineteenth century Beechworth at time when the town was developing and expanding in response to gold mining. This clock represent the significant skill and expertise of Charles Falck as an horologist. Medium-sized pendulum clock featuring a carved gilt wood eagle with wings outstretch (épandre - expanded with wing-tips directed upwards) and perched above a pendulum rod that holds a silver dial clock face within a reeded sunburst surround. The clock has an eight-day fuse movement with dead beat escapement wound from the clock face. C. F. F. FALCK / EXHIBITION 1856 / MELBOURNEburke museum, copland foundation, beechworth, leonard joel, auction, purchase, clock, pendulum, eagle, eagle clock, charles frederick falck, c. f. falck, falck, horology, pendulum clock, melbourne -
The Beechworth Burke Museum
Decorative object - Swinging Clock, Charles Frederick Falck, 1870
This clock was made by Charles Frederick Falck who was a watchmaker and jeweller in Beechworth from 1863-1908. Falck was born in Körlin, Prussia on May 22nd in 1833 and died at the age of 75 in 1908. Ovens and Murray Advertiser, Beechworth: edition June 13, 1908 OBITUARY: Falck was brought up to the business of watch-making, in which he developed exceptional mechanical ingenuity. Attracted by the favourable prospects held out by the Australian discoveries of gold he, like many other young adventurous spirits, left his native land to seek his fortune in the great southern Eldorado, arriving in Adelaide in 1854, and shortly after came to Melbourne where he worked as a journeyman, and subsequently started in business on his own account. Feeling inclined to test his fortune on the goldfields, he went to Blackwood but, meeting with little success, he returned to Melbourne where he was married. In 1862, he moved to Beechworth, where he commenced business as watchmaker and gold-buyer. He then embarked in vine-growing on the Sydney road, but eventually resumed his business avocations. His skill in practical horology was evinced in a clock of his own design and manufacture, surmounted by a golden eagle, which was exhibited at the first Melbourne Exhibition in 1856, and which afterwards formed a pre-eminent attraction in the window of his business premises in Ford Street. For many years, he filled the position of timekeeper to the Beechworth Racing Club, with complete satisfaction also at various sports meetings. He leaves a family of six sons and one daughter (Mrs. Jas. Broadfoot) all arrived at maturity. The funeral, which was well attended by a number of residents, took place at the Beechworth Cemetery on Sunday, the burial service being performed by the Ven. Archdeacon Potter. The cortege was capably supervised by Mr. D. Wilson, undertaker. The clock was returned to Beechworth in 2020 through the generous support of the Copland Foundation and the Friends of the Burke. Given that Mr. C. F. Falck traded as a watchmaker and jeweller in Beechworth for 45 years and traded with the 1855 clock mounted in his front window, there is a direct link between the clocks and the social, cultural and economic life of nineteenth century Beechworth at time when the town was developing and expanding in response to gold mining. This clock represent the significant skill and expertise of Charles Falck as an horologist. Large swinging clock featuring a carved gilt wood eagle with its wings outstretched (abaisé - expanded with wing-tips lowered) and perched above a pendulum rod that holds a silvered dial clock face within a reeded sunburst surround. (Similar to #2019.056.01) The clock has an eight-day fuse movement with dead beat escapement wound from the clock face. C. F. FALCK / WATCHMAKERburke museum, copland foundation, beechworth, leonard joel, auction, purchase, clock, pendulum, eagle, eagle clock, charles frederick falck, c. f. falck, falck, horology, pendulum clock, melbourne -
Duldig Studio museum + sculpture garden
Drawing, Slawa Horowitz-Duldig, Portrait of Rella by Slawa Horowitz-Duldig 1917, 1917
Slawa Horowitz-Duldig) was both an artist and a designer, and both aspects of her practice are represented in the collection. There is an archive of approximately 255 drawings by Slawa dating from 1917 until 1922. Slawa’s sketchbooks from this period provide an insight into her early training and demonstrate the artist’s early interest in portraiture. A number of the drawings have been framed, but the majority remains 'in situ'. Slawa was a student at the Viennese Kunstschule für Frauen und Mädchen (the Viennese Art School for Women and Girls) (KFM) from 1917 until 1921, and in 1922 she became a student of Anton Hanak. The KFM School had been established in 1897 as a private school, and it was highly regarded both for its teaching staff and academic curriculum. By 1918 it had introduced stringent admission policy similar to those of the Austrian Academy of Fine Arts, and obtained government funding for its academic program, and began to focus on students seeking to pursue careers as professional artists. In 1921 when Slawa applied to the Austrian Academy of Arts for a place in its program, her application was unsuccessful, as her work was considered advanced, and a place in the third or fourth year of the program was not available. In 1922 she became a private student of Anton Hanak. Many of the portrait images from this early period concentrate on capturing the physical appearance of the face of the model. A number of these studies, in which the subject is not identified, display an academic approach to the genre. Her technical skills in capturing precise facial features of the model, the expression of eyes and the texture of hair are evident. These drawings were perhaps completed in the studio of the KFM School. There are also portraits of friends and family members, including her sister Rella and others, perhaps parents and grandparents, who have yet to be identified conclusively. It is these images of family and friends that particularly demonstrate Slawa’s confidence with pen, charcoal and crayon on paper. Amongst the group are several portraits that indicate the artist’s interest in conveying the inner psyche of a subject, as well as capturing a likeness. Ann Carew 2016The drawings from this period give us an insight into the artist’s early training, and the teaching methods of Viennese Kunstschule für Frauen und Mädchen, one of the first professional art schools for women in Vienna. The drawings and sketchbooks have artistic, interpretative and research significance as records of the art education of women in Vienna in the early 20th century. Ann Carew 2016Charcoal over pencil sketch on paper of Slawa's sister Rella.Artist signature in the bottom left corner. -
Brighton Historical Society
Suit, 1940s
This suit was tailor-made for Latvian dancer, choreographer and dance teacher Vija Vetra, who lived at the Old Hall, 93-95 Bay Street, Brighton and ran a dance academy at 97 Bay Street during the late 1950s and early 1960s. Born in Riga, Latvia in 1923, at the age of sixteen Vija ran away from home in order to study classical, character and modern dance at the Vienna Academy of Music and Performing Arts. She spent several years performing on European stages. When Latvia was annexed by the Soviet Union in 1944, more than 100,000 Latvians fled, seeking refuge in neighbouring countries. Vija's sister, mother and aunt were among them, managing to join her in Vienna. The following year, all four had to flee again when the Soviets moved into Austria. Escaping to Bavaria, they spent three years in displaced person camps before emigrating to Sydney as refugees in 1948. Vija found success as a dancer in Sydney. She toured Australia and New Zealand with the Bodenwieser Ballet, formed a Latvian folk dancing group and established a dancing school. By the mid-1950s she had gained recognition as a recitalist in her own right. She developed a passion for Indian classical dance. In the late 1950s she moved to Victoria. She opened a dance school in Bay Street, Brighton, while continuing to perform on stage in productions such as the musical 'Kismet' and the ballet 'Corroboree'. In 1959 she starred in the four-part live ABC television program 'Music and Dance'. She left Australia in 1964 for a tour of the United States and Canada, ultimately settling in New York City. Interviewed in the 'ABC Weekly' in 1957, Vetra described her taste in clothing as minimalist, saying she preferred to own as few clothes as possible to save the trouble of deciding what to wear: "And no bows or extravagances, but always a simple line."Two-piece women's suit made of maroon corded silk; comprising fitted jacket (.1) and straight skirt (.2). Jacket fastens with one large black faceted glass button. Jacket lined with pink satin; skirt unlined. vija vetra, migration, brighton, refugee, dancer, 1940s -
Melton City Libraries
Newspaper, Stone Walls protected, 2015
Dry stone construction as a technique is used for much more than paddock walls. Across the volcanic plains of western Victoriaare marvelous sheep dips, stock loading ramps, huts, dams, retaining walls, and the rich and largely undiscovered heritage of indigenous dry stone structures. Dry stone walls indicate many aspects of our rural environment; the geological beginnings of the way the landscape was created, the patterns of early settlement by pastoralists and squatters, the types of stock that grazed the land and the methods of cattle and sheep management, of the efforts to thwart the spread of rabbits .... "For the casual but interested observer dry stone walls are good to look at, to photograph, to get up alongside and see the way they are constructed, to appreciate the varying shapes and sizes of stones and learn of the techniques of keeping often quite rounded stones in place. Apart from walls and other dry stone structures on grazing land we can also see dry stone techniques used in other places and in other phases of our history. Indigenous Australians have built, and continue to build, structures for shelter or hunting or trapping eels and fish in rivers and estuaries around the country. At spots around our coast line there is evidence of simple stone structures built by early maritime explorers. Prospectors in early mining encampments used dry stone construction to build retaining walls or the low walls of rudimentary shelters. If the future of dry stone walls in the Australian landscape is to be assured. wall owners and local governments have to accept and embrace their custodial role in assuring the preservation and celebration of walls. This is not an easy task, but, along with putting the necessary statutory mechanisms to ensure their retention, it is a task that must be pursued. The Dry Stone Walls Association of Australia has as its primary goal the increase in awareness of wall owners and local governments of the importance of dry stone walls. It also seeks to increase the level of training of skilled and semi skilled wallers, and the gaining of rudimentary skills by farmers so that they can maintain their own walls". Melton Star Weekly article about the Stone Wallslandscapes of significance -
Ballarat Tramway Museum
Newspaper, The Courier Ballarat, takeover of the Ballarat Electric supply by the SEC, Jul. 1927
Set of four newspaper clippings July 1927 from the Ballarat Courier regarding the possible takeover of the Ballarat Electric supply by the SEC. See also Reg. Item 1973 for other background to these clippings. 1974.1 - Courier 14/7/1927 - Reply by Sir John Monash of the SEC to Mr Pringle's (ESCo) speech - regarding price of power supplies, load factors, distance of supply, tariffs, tramway services. 346H x 57W 1974.2 - Courier 13/7/1927 - Large item in the Courier with statements by Sir John Monash and Mr. P. Pringle of ESCo each stating their case and various points regarding the cost of electricity to the various communities. 631H x 305W. 1974.3 - Single sheet of paper reprint from the Ballarat Courier - dated 14/7/1927 - titled "The Electric Supply Problem / Read this Leader from the 'Ballarat Courier' of 14th July 1927". Editorial address various issues of the problem - SEC takeover of the company, Council's power to franchise, dividends going overseas, loss of income to Council. Newspaper was seeking an independent report to Council. 303h x 206W 1974.4 - Courier 19/7/1927 - report of City of Ballaarat Council's 1927 consideration of the SEC's offer to takeover ESCo the previous night. Very detailed report of the discussions. Also a report on the City of Bendigo's decision to accept the SEC's position subject to the trams being kept, report on Electricity to farms and a long letter regarding the issue by W. B. Grose. 631H x 173W. Within the envelope containing this item, is the brown file that contained Reg. Items 1971 to 1977 by the Roneo London company.Dates of the newspaper clippings in pencil -plain or blueelectricity supply, sec, esco, city of ballarat, city of bendigo -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Photograph, 1909 Moorabbin Australian Rules Football Team, 1909
Australian Rules Football history see MAV 00517 1909: Football Team. Only player named is Paddy Green. Since the player guernseys are almost the same and the photographer is the same we presume this is the same team as shown in MAV 00517 named as the Moorabbin Football Team Moorabbin Football Club, nicknamed the Kangaroos, was the name of two distinct Australian rules football clubs which played in the Victorian Football Association (VFA). The first club, founded in the early 20th century, joined the VFA in 1951 and played there until 1963 with great success; they played home matches at Moorabbin Oval and wore royal blue and white hooped jerseys. The second club played in the VFA from 1983 to 1987. Moorabbin played initially in the Federal Football League, making their debut in 1909 and competing until 1950. During this time the club won 12 premierships, including winning all six premierships staged over the nine years between 1940 and 1948 (the competition was in recess from 1942 until 1944). The club entered the VFA in 1951. Its Federal League home ground, the Dane Road Reserve, was not up to VFA standards; so, in 1951 the club played at Cheltenham, and in 1952 moved into the Moorabbin Oval, which the Moorabbin Council had developed during 1951. The Kangaroos made the 1954 and 1955 finals series without success but in 1957 they helped eliminate premiership favourite Williamstown after defeating them by two points in the Semi Final. Moorabbin, who were coached by Bill Faul, took on Port Melbourne in the Grand Final, whom they had not once beaten since joining the league. In another upset, Moorabbin won comfortably to claim their maiden VFA premiership. In the early 1960s, the Moorabbin Council was very keen to bring a Victorian Football League team to Moorabbin Oval. 1964, the Moorabbin City Council secured a deal with St Kilda, who moved to Moorabbin Oval starting in 1965. The club originally intended to seek readmission for the 1965 season, but in July the club committee decided to withdraw permanently from the Association,and disbanded. Photograph is Black and White. Three row of football boys. Some are wearing striped jumpers, either the stripes are going horizontal or parallel. There are twelve men wearing a suits, four in the third row, four in the second row and four in the first row. One of the boys wearing a suit in the front row, has a hat in his hand. The boys in the front row are kneeling, the second row are standing on the ground and the third row are standing on benches. Only player named is Paddy Green. Phillip Jones may also be in the photo Row 2 4th from left Front of Mount : 1909 Back of Mount : written Paddy Green , stamp HEWITT 92 Regent Street North Richmondfootball team, 1909, paddy green, moorabbin, moorabbin football club, 1903, 1908, 1909, philip jones, james jones, paddy green, early settlers, market gardeners, pioneers, herron john, australian rules foorball, victorian footbal league, victorian football association, moorabbin city council, moorabbin shire, city of moorabbin, st kilda football club, -
The Beechworth Burke Museum
Photograph
This rectangle black and white photograph shows a bush scene with part of a suspension rope and wooden plank bridge visible in the middle of the image. It is likely this suspension bridge was used by the Tannery workers to move between the town and the Ovens Tannery located South-West of Beechworth due to its secluded bush location, the bridge likely spanned the gorge across Spring creek. The tannery itself was located alongside Gimlet Creek, about three kilometres from town, down what is now known as Malakoff and Old Tannery Road but which at the time was remote and accessed through bushland. The Ovens tannery was stablished in 1858 by Matthew Dodd and Hallahan and later Matthew and his brother Thomas Dodd in 1866 who developed it over the years. According to Doyle, 'we have little information about its early operations except the tannery itself comprised four small buildings' by 1870 ‘a small village with gardens of vines and fruit trees surrounded the tannery’ (Woods, 121), and by 1887 the Tannery employed fifteen men. The Ovens tannery was among several new businesses establishing themselves such as a foundry that brought industrial manufacturing alongside the developing township and which strengthened the economic stability of Beechworth after the receding mining surge. According to Woods (p. 121) in the 1860’s the government spent considerable sums to establish several public buildings such as the Benevolent Asylum, the Hospital and Insane Asylum to support those in need of care in the area directly after the Indigo gold rush which had left Beechworth, a fairly remote regional and newly formed township (Gold was first discovered in Beechworth in 1852) with a number of infirm and destitute people in its wake and which due to the support and establishment of these facilities ‘made Beechworth a significant social welfare centre in Victoria’ (Woods, p. 121). The tannery provided employment and connected the regional centre with other parts of Victoria and the wider colonial outposts and would have been a welcome opportunity for those seeking work after gold was no longer a source of income.A good example of the ingenuity of regional settlers to achieve what would have been a difficult and remote construction of a bridge as a means of access. This bridge is evidence of planning and forethought and shows dedication to establishing a life in a remote landscape.Black and white rectangular photograph printed on paperreverse: / 2983 / / BMM2983 /black and white photograph, bush, suspension bridge, rope bridge, tannery, spring creek, ovens tannery, bushland, gimlet creek, matthew dodd, beechworth -
Mission to Seafarers Victoria
Booklet - Catalogue, Margaret Woodward, The Sea is All Around us, 2015
Margaret Woodward is a an artist and an an associate professor of design at Charles Sturt University. Artist statement: "The Sea is All Around us is a multi-layered event which creates a memorable experience for those visiting the Dome Gallery and the Mission to Seafarers in Melbourne’s Docklands. The event acknowledges and raises awareness of the often difficult and dangerous working lives and journeys of seafarers by making visible their role in transporting commodities, materials and objects to and from Australia’s shores. This installation at the Dome Gallery in the Mission to Seafarers in Melbourne’s Docklands marks the third stage of an ongoing research project which seeks to reveal the ‘social life’ of souvenirs. Beyond their representational role souvenirs also trigger intangible, affective qualities – reminders of journeys and places, new associations with tastes, sounds and people, and thereby becoming objects which focus and hold memories. This installation invites seafarers and visitors to participate in a global project which aims to witness sea journeys and trace the mobile life of seafarers and souvenirs. For a fortnight in May 2015, the Dome Gallery became an architectural large scale compass, with the circular floor marking the intersection of its latitude and longitude (37 º 49'21" S 144º 57'03"E). Over these two weeks the Dome Gallery was inscribed with marks recording journeys made by seafarers, recording destination and departure ports, home lands and waterways, and in doing so making visible a small segment of the global patterns of seafaring. Custom-made souvenirs designed for the installation are given to seafarers as gestures of welcome and a memento of their visit. The souvenirs originating in Poland continue their journey by sea, to destinations beyond the Dome becoming part of the global network of seafaring, with an invitation for seafarers to record their future journeys using QR code scanning technologies. It is hoped that by releasing the 200 limited edition souvenirs accompanying the seafarers the mobile life of souvenirs and seafarers will also become visible. Like messages in bottles they leave our shores, becoming ambassadors, representing the Dome Gallery at the Mission to Seafarers, the waters of Port Phillip Bay, Australia’s red soil and vegetation, and carrying memories of visiting Melbourne." The Mission has always been open to the community and has a tradition of hosting cultural events: shows, concerts, exhibitions, festivals.Small flyer in PDf for the art installation by artist Margaret Woodward at the Mission to Seafarerscultural events, norla dome, mso, 2015, art installation, margaret woodward -
Mission to Seafarers Victoria
Souvenir - Cup, Margaret Woodward, 2015
Margaret Woodward is a an artist and an an associate professor of design at Charles Sturt University. Artist statement: "The Sea is All Around us is a multi-layered event which creates a memorable experience for those visiting the Dome Gallery and the Mission to Seafarers in Melbourne’s Docklands. The event acknowledges and raises awareness of the often difficult and dangerous working lives and journeys of seafarers by making visible their role in transporting commodities, materials and objects to and from Australia’s shores. This installation at the Dome Gallery in the Mission to Seafarers in Melbourne’s Docklands marks the third stage of an ongoing research project which seeks to reveal the ‘social life’ of souvenirs. Beyond their representational role souvenirs also trigger intangible, affective qualities – reminders of journeys and places, new associations with tastes, sounds and people, and thereby becoming objects which focus and hold memories. This installation invites seafarers and visitors to participate in a global project which aims to witness sea journeys and trace the mobile life of seafarers and souvenirs. For a fortnight in May 2015, the Dome Gallery became an architectural large scale compass, with the circular floor marking the intersection of its latitude and longitude (37 º 49'21" S 144º 57'03"E). Over these two weeks the Dome Gallery was inscribed with marks recording journeys made by seafarers, recording destination and departure ports, home lands and waterways, and in doing so making visible a small segment of the global patterns of seafaring. Custom-made souvenirs designed for the installation are given to seafarers as gestures of welcome and a memento of their visit. The souvenirs originating in Poland continue their journey by sea, to destinations beyond the Dome becoming part of the global network of seafaring, with an invitation for seafarers to record their future journeys using QR code scanning technologies. It is hoped that by releasing the 200 limited edition souvenirs accompanying the seafarers the mobile life of souvenirs and seafarers will also become visible. Like messages in bottles they leave our shores, becoming ambassadors, representing the Dome Gallery at the Mission to Seafarers, the waters of Port Phillip Bay, Australia’s red soil and vegetation, and carrying memories of visiting Melbourne." The Mission has always been open to the community and has a tradition of hosting cultural events: shows, concerts, exhibitions, festivals.Orange enamel and teal mug created for the art installation by artist Margaret Woodward at the Mission to Seafarers. On one side it is decorated with a compass and a latitude and longitude; on the opposite side, a leaf, a QR code on the bottom takes you to the website.Written at the bottom of the mug: Please scan to map the journey of this souvenir * www.sensingtheremote.net *2015cultural events, norla dome, mso, 2015, art installation, margaret woodward -
Wodonga & District Historical Society Inc
Certificate - WW1 Private A. G. Stevenson, 1924
Arthur Edward Stevenson enlisted on 17 September 1914 and served with the 14th Battalion of the AIF. He was killed in action at Gallipoli on 20 August 1915 at age 28. His personal effects of a belt, hairbrush, knife, postcards and photos were returned to his brother John in June 1916. Later that year, John Stevenson wrote to the Officer in Charge of base records, asking for confirmation of his brother’s death, as he had received a letter from Arthur dated 27 August 1915, seven days later than the date on which he was reportedly killed. The Army confirmed that Arthur had in fact died, and concluded that he had likely misdated his letter. In 1920, Arthur’s sister Rachel wrote to the Department of Defence, asking whether her brother’s grave had been located and again querying the date of his death. Later, she completed a form that was sent to next of kin seeking information on deceased soldiers for the Australian War Memorial’s Roll of Honour. Arthur Stevenson’s death is recorded at the Lone Pine Memorial on the Gallipoli Peninsula. Honour Certificates WW1 - From 1915 onwards, recruits in many shires and towns in eastern Australia were honoured by local government authorities. A common form of recognition was the award of honour certificates. The first honour certificates were presented in 1915 and 1916 to men who had yet to leave Australia. The designers and publishing companies solicited business directly from councils. Publishers began to print two different types of certificates: honour certificates to thank soldiers who had survived and memorial certificates to commemorate the dead. D.W. Paterson, a Melbourne publishing firm, claimed they had supplied certificates to over 150 cities and shires in Victoria and New South Wales, including the Shire of Wodonga. Paterson also had the widest range of designs The certificate signified that the officials of the community recognised and shared the family's pride and grief. The certificate was signed by S. T Parker, Shire President and R. H. Murphy, Council Secretary on 4th August 1919.This certificate is significant as it recognises service given to Australia by Arthur Edward Stevenson. Coloured certificate presented to the family of Arthur Ernest Stevenson by Wodonga Shire Council. The certificate is mounted behind glass in a wooden frame.gallipoli, world war 1, arthur edward stevenson -
Vision Australia
Text, Letter to a Life Member (1931), 9 February 1931
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 letterTop 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 -
The Beechworth Burke Museum
Animal specimen - Ural Owl, Trustees of the Australian Museum, 1860-1880
Ural Owls are one of the largest nocturnal birds of prey and are distributed across Northern hemisphere land masses from Scandinavia in the west, across Russia and China to Japan in the east. They average between 500-640mm in length, have large ears, a very long tail, and wing spans up to 1340mm. Ural Owls display reverse sexual dimorphism. They have a range of calls and sounds that vary between regions and among subspecies. Ural Owls prefer mature primary forest habitats that are not too dense, but adapt to a range of environments, including damp heathland and high elevation mountain forests. The species is considered nocturnal but may be more correctly described as ‘cathemeral’, due to frequent daylight activity in the taiga zone. Ural Owls are non-migratory and highly territorial. They prefer to hunt from a perch into open areas of forest, seeking small mammal prey, such as voles, as well as birds, amphibians, and invertebrates. Ural Owls have a broad, rounded head and a well-developed round facial disc with a small V-shaped indentation. They tend to be plain greyish-brown to whitish overall, though some subspecies display darker colour variation. The underparts are pale cream to grey-brown and boldly overlaid with dark brown streaking. Ural Owls lack the richer colour tones of other Strix owls. Their flight style gives the appearance of a large bird. The eyes are dark brown and relatively small, and the bill is yellowish. Tarsi and toes are feathered grey and the talons are yellowish brown with darker tips. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century. This Ural Owl is an average sized specimen with a broad, rounded head and characteristic V-shaped facial marking between the eyes. Overall plumage is plain and consistent in colour and pattern, with white, brown and grey streaks. The eyes are large and the bill is small and yellow. This specimen stands on a wooden perch with identification tags attached to its leg.Swing tag: Strix noctua / Athene noctua, [illegible] / near leiden / 26 Mai 1860. / Holland / Other tag: N38 / Strix noctua / Holland. / Metal tag: 4062 /taxidermy, taxidermy mount, burke museum, australian museum, owls, birds of prey, heart-shaped faced owl, nocturnal birds, predator birds, carnivore, territorial owl, animalia, large owl, long-tailed owls, ural mountains, taiga zone owls, cathemeral, monogamous, iucn red list, strix, wood owl, attacking owl, long-tailed owl, large-eared owl, owls with facial disc -
National Wool Museum
Uniform - 1992 Barcelona Olympic Games Women's Official Occasions Floral Print Gilet Shirt, Wendy Powitt, c. 1992
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 -
National Wool Museum
Uniform - 1992 Barcelona Olympic Games Women's Official Occasions Floral Scoop Neck Blouse, Wendy Powitt, c. 1992
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 -
National Wool Museum
Uniform - 1992 Barcelona Olympic Games Women's Official Occasions Cotton Blouse, Wendy Powitt, c. 1992
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 -
National Wool Museum
Uniform - 1992 Barcelona Olympic Games Official Occasions Vest with Gold Buttons, Wendy Powitt, c. 1992
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 -
National Wool Museum
Uniform - 1992 Barcelona Olympic Games Official Occasions Vest with Buttons, Wendy Powitt, c. 1992
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 -
National Wool Museum
Uniform - 1992 Barcelona Olympic Games Official Occasions Vest, Wendy Powitt, c. 1992
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 vest with two pocket decorations on the lower front of the vest. Underneath the pocket is the Australian emblem, below which are the Olympic rings and the inscription "BARCELONA 1992."BARCELONA 19921992 barcelona olympics, sport, athletes, fashion, design, uniform -
National Wool Museum
Uniform - 1992 Barcelona Olympic Games Official Occasions Tie, Wendy Powitt, c. 1992
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.8129.1 - Yellow woollen tie printed with an Australian floral design inspired by the work of artist Margaret Preston. Half of the tie is unprinted and cream in colour. On the reverse of the tie is a label with the manufacturers name. 8129.2 - Yellow woollen tie printed with an Australian floral design inspired by the work of artist Margaret Preston. Half of the tie is unprinted and cream in colour. On the reverse of the tie is a label with the manufacturers name. 8129.3 - Sample fabric showing the printing layer of tie, uncut.8129.1 - Tag on reverse - WOVEN & MANUFACTURED IN AUSTRALIA BY "Tee - Dee" EXCLUSIVELY FOR THE AUSTRALIAN WOOL CORPORATION 8129.2 - Tag on reverse - WOVEN & MANUFACTURED IN AUSTRALIA BY "Tee - Dee" EXCLUSIVELY FOR THE AUSTRALIAN WOOL CORPORATION 8129.3 - Stapled Label - "PURE WOOL PRINTED TIE"1992 barcelona olympics, sport, athletes, fashion, design, uniform -
National Wool Museum
Uniform - 1992 Barcelona Olympic Games Official Occasions Bow Tie, Wendy Powitt, c. 1992
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.Cream coloured, printed bow tie with Australian floral. The floral design was inspired by the work of artist Margaret Preston. The bow tie has a plastic hook clasp and the size is adjustable.1992 barcelona olympics, sport, athletes, fashion, design, uniform -
National Wool Museum
Uniform - 1992 Barcelona Olympic Games Official Occasions Women's Shawl, Wendy Powitt, c. 1992
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.The fabric of the shawl is square with a black border around the outside edge. Along the inside of the border is an Australian floral design that is inspired by the artist Margaret Preston and appears in tones of red, white, green, yellow and black. The centre of the shawl is primarily cream in colour with stripes of green running across it, these lines are organic in their shaping. In the very centre of the shawl, intersecting the lines, is a motif of Australia in black created by a cross hatching of curving lines.Label- Tee - Dee1992 barcelona olympics, sport, athletes, fashion, design, uniform -
National Wool Museum
Uniform - 1992 Barcelona Olympic Games Official Occasions Women's Scarf, Wendy Powitt, c. 1992
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.Short, cream coloured scarf printed with an Australian floral design inspired by the artist Margaret Preston. The floral design appears in red, green, white, yellow and black. Interspersed with the flowers are small motifs of Australia created through a curved cross hatching design.Label- Tee - Dee1992 barcelona olympics, sport, athletes, fashion, design, uniform -
National Wool Museum
Uniform - 1992 Barcelona Olympic Games Village/Travel Block Print Shirt, Wendy Powitt, c. 1992
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.8133.1 - The front of the short sleeved shirt has four colour blocks. The bottom two quadrants of the shirt are yellow and cream, the top two are red, above the cream, and green, above the yellow. The collar of the shirt is cream and the cuffs of the shirt are yellow. The back of the shirt is solid green. There are seven buttons with small amounts of colour on them to do up the shirt, and a motif of Australia made up of curving, crosshatching lines on the left of the shirt, sitting over the line between the red and cream colours. 8133.2 - The front of the short sleeved shirt has four colour blocks. The bottom two quadrants of the shirt are yellow and cream, the top two are red, above the cream, and green, above the yellow. The collar of the shirt is cream and the cuffs of the shirt are yellow. The back of the shirt is solid green. There are seven buttons with small amounts of colour on them to do up the shirt, and a motif of Australia made up of curving, crosshatching lines on the left of the shirt, sitting over the line between the red and cream colours. The bottom hem of the shirt is asymmetrical with the back of the shirt longer than the front. 8133.3 - Red fabric sample. 8133.4 - Red fabric sample. 8133.5 - White fabric sample with permanent marker writing "F22630." This sample also has the tag attached. 8133.6 - White fabric sample. 8133.7 - White fabric sample. 8133.8 - Green fabric sample.8133.5 - On tag - "Allan Robison Textiles Design F22853 82m 30 Wangaratta St Richmond Victoria, 3121, Australia Tel 429 - 9600 Fax 427 - 0594"1992 barcelona olympics, sport, athletes, fashion, design, uniform -
National Wool Museum
Uniform - 1992 Barcelona Olympic Games Village/Travel Stripe Shirt, Wendy Powitt, c. 1992
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.8134.1 - The shirt is coloured with stripes of olive green and cream. There are several panels on the shirt, majority of the panels have the stripes running vertically but two panels over the left breast have the stripes running horizontally. Over the horizontal stripes is the Australian emblem with the Olympic rings and "Barcelona 1992," underneath. On the reverse of the shirt there is only one panel and the stripes all run vertically. Along the shoulders of the reverse of the shirt are four velcro dots from the object being previously displayed. 8134.2 - The shirt is coloured with stripes of olive green and cream. There are several panels on the shirt, majority of the panels have the stripes running vertically but two panels over the left breast have the stripes running horizontally. Over the horizontal stripes is the Australian emblem with the Olympic rings and "Barcelona 1992," underneath. On the reverse of the shirt there is only one panel and the stripes all run vertically.8134.1 - BARCELONA 1992 8134.2 - BARCELONA 19921992 barcelona olympics, sport, athletes, fashion, design, uniform -
National Wool Museum
Uniform - 1992 Barcelona Olympic Games Akubra Hat, Wendy Powitt, c. 1992
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.8135.1 - Straw Akubra style hat with Australian native floral printed band. The left hand side has a small hat pin that features the Australian flag with the Olympic rings underneath. 8135.2 - Straw Akubra style hat with Australian native floral printed band. Around the printed band on the right side of the hat is a tag with the hats details.8135.1 - on the inside - Akubra Olympian Made in Australia 8135.2 - on the inside - Akubra Olympian Made in Australia1992 barcelona olympics, sport, athletes, fashion, design, uniform -
National Wool Museum
Uniform - 1992 Barcelona Olympics Games Village/Travel Shorts, Wendy Powitt, c. 1992
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.8144.1 - Men's cream coloured shorts. Manufactured from a cotton and wool blend fabric. 8144.2 - Cream fabric sample with labels attached. 8144.3 - Cream fabric sample. 8144.4 - Cream fabric sample.8144.1 - On label- FLETCHER JONES 60% Wool, 40% Cotton 8144.2 - Stapled label- WOOL COTTON 50:50 STRETCH1992 barcelona olympics, sport, athletes, fashion, design, uniform