"Students Study Bedroom" Stamped: "Please Quote No. GX1274 When Ordering Laurie Richards JW 1528"

Kindergarten students in the classroom, Shakespeare Grove, 1960s. Students are dressed in costume possibly for Purim celebrations - there is a Purim poster in the background. Known students: (left) Danny Gunn. Please contact [email protected] to request access to this record.purim, elc, early learning centre, judaism

Portrait of a Group of People. 1 Male & 19 Females (named) Mr S Trend was head teacher at SS 502 1895-1899stawell

Mixed media painting depicting a male and female nude embracing with a plate of three cherry tarts and the remains of a butterfly embedded in the paint (U.l) against a green and orange background. Signed (L.r) 'Clifton July '74'. On reverse auxiliary support 'Steps and Lovers No. 4'.clifton pugh, painting, male nude, female nude, tarts, butterfly, mixed media

Two colour photographs. Kerryn Manning holding Cup and Flowers. Kerryn Manning in harness with male holding trophy and female in cream suit. 2017

Kindergarten students in the classroom, Shakespeare Grove, 1960s. Students dressed in costume, possibly for Purim celebrations. Students: unknown, Roger Behrend, 3 unknown students, Nathan Erlich. May possible include: Mark Newhouse Please contact [email protected] to request access to this record.purim, elc, early learning centre, judaism

Note by T.H. Kneen 26 February 1992, "Male operator of Howard Rotary Hoe is Lyle Tonkin, an ex-student working in the Plant Breeding Branch of the Department of Agriculture at Burnley Gardens. Lyle graduated 1943."Sepia photograph. Man using a Howard rotary hoe in the Agrostology/Plant Breeding area.On reverse, "Rotary Hoe."howard rotary hoe, lyle tonkin, plant breeding branch, department of agriculture, staff, ex-student, agrostology

Fashions of 1960s and 1970s - Male and Female Written by Jennifer Ruby Printed by B. T. Batsford Ltd of London.Hard-Back Fashion Book Costume In Content The 1960s And 1970s Various Fashion Statements - Male and Female Costumes worn by workers

A brown coloured cover with all information in black. There is the Australian Insignie and under this reads Australian Military Forces. Record of Service Book is uderlined and under this reads Male Member. At the op of the booklet is the idenification details Army No: 1/39016. Rank: Capt. Name Lehmadd D.K. No 23.Captain D.K. Lehmann, Army No. 1/39016 No. 23capt d.k. lehmann, record of serive book, australian military forces

The cast of a captive male Snow Leopard was made by David Pepper-Edwards at Taronga Zoo, Sydney, NSW. David Pepper-Edwards used a number of plaster cast footprints for comparison of unidentified field casts.Three plaster casts of a male Snow Leopard footprint. These casts were used in the identification of photographs and sightings of large cats in the Australian Bush. Australian Animal Folklore CollectionVersoL TZ, Snow Leopard, Male, 3/04australian animal folklore collection, david pepper edwards, pepper edwards, big cat, cat, snow leopard, plaster cast, footprint, mythical, myth, folklore

Studio portrait of unidentified male, taken circa 1882. From the Partington collection. [Note: In the Hobart Mercury 11 May 1882, page 3… Portraits: Secure the shadow ere the substance pass away. Persons desiring large life-like portraits; taken from life; or copied from any portrait; and finished in oil or water colours; Indian ink; or any other style known in the art; should go to C. W. and Co.; who are the only artist photographers (portrait painters) in Tasmania. The most perfect and highly finished card portraits. Only 7s. 6d. per dozen. Address: C. WHERRETT and CO. Melbourne Portrait Rooms. Elizabeth-street, Hobart.] Sepia studio portrait.In black pen on reverse "Mrs Partington Kindest regards WRC"partington family

The Lady Barbara Grimwade Costume Collection is comprised of Lady Barbara Grimwade's personal apparel and includes 145 pieces of clothing, 10 hats, 19 handbags, 66 pairs of shoes and assorted accessories of gloves, belts and scarves. In its breadth, this significant acquisition ranges from the mundane to the memorable, therefore giving a balanced representation of one person's taste. Following Lady Barbara Grimwade’s death in March 1990, Ararat Gallery formally accepted the generous gift of clothing and accessories donated by Lady Grimwade's son, Mr Angus K Grimwade, on 28 August 1991. Subsequent smaller donations in 1995 enhanced the collection. Lady Grimwade's Scottish forebears, the Gaerloch Campbells, first settled in Australia in 1861 in the Ararat-Beaufort district. Her great great grandfather, Mr Henry Campbell, died on the voyage to Australia. His widow, Jane, with 10 of her 13 children, farmed and grazed land, firstly at Stockyard Hill then at Fiery Creek, near Buangor, before leaving the shire in 1873. Lady Grimwade held a privileged position in Melbourne society. As the wife of Sir Andrew Grimwade, a prominent businessman, Chairman of several boards and a Trustee of various committees, Lady Grimwade met with royalty, heads of state, politicians, corporate directors, and horse and cattle breeders. Excerpt from 'Hot Pink Summers' catalogue essay, Helen Jackson, 1995.

The Lady Barbara Grimwade Costume Collection is comprised of Lady Barbara Grimwade's personal apparel and includes 145 pieces of clothing, 10 hats, 19 handbags, 66 pairs of shoes and assorted accessories of gloves, belts and scarves. In its breadth, this significant acquisition ranges from the mundane to the memorable, therefore giving a balanced representation of one person's taste. Following Lady Barbara Grimwade’s death in March 1990, Ararat Gallery formally accepted the generous gift of clothing and accessories donated by Lady Grimwade's son, Mr Angus K Grimwade, on 28 August 1991. Subsequent smaller donations in 1995 enhanced the collection. Lady Grimwade's Scottish forebears, the Gaerloch Campbells, first settled in Australia in 1861 in the Ararat-Beaufort district. Her great great grandfather, Mr Henry Campbell, died on the voyage to Australia. His widow, Jane, with 10 of her 13 children, farmed and grazed land, firstly at Stockyard Hill then at Fiery Creek, near Buangor, before leaving the shire in 1873. Lady Grimwade held a privileged position in Melbourne society. As the wife of Sir Andrew Grimwade, a prominent businessman, Chairman of several boards and a Trustee of various committees, Lady Grimwade met with royalty, heads of state, politicians, corporate directors, and horse and cattle breeders. Excerpt from 'Hot Pink Summers' catalogue essay, Helen Jackson, 1995.

The Lady Barbara Grimwade Costume Collection is comprised of Lady Barbara Grimwade's personal apparel and includes 145 pieces of clothing, 10 hats, 19 handbags, 66 pairs of shoes and assorted accessories of gloves, belts and scarves. In its breadth, this significant acquisition ranges from the mundane to the memorable, therefore giving a balanced representation of one person's taste. Following Lady Barbara Grimwade’s death in March 1990, Ararat Gallery formally accepted the generous gift of clothing and accessories donated by Lady Grimwade's son, Mr Angus K Grimwade, on 28 August 1991. Subsequent smaller donations in 1995 enhanced the collection. Lady Grimwade's Scottish forebears, the Gaerloch Campbells, first settled in Australia in 1861 in the Ararat-Beaufort district. Her great great grandfather, Mr Henry Campbell, died on the voyage to Australia. His widow, Jane, with 10 of her 13 children, farmed and grazed land, firstly at Stockyard Hill then at Fiery Creek, near Buangor, before leaving the shire in 1873. Lady Grimwade held a privileged position in Melbourne society. As the wife of Sir Andrew Grimwade, a prominent businessman, Chairman of several boards and a Trustee of various committees, Lady Grimwade met with royalty, heads of state, politicians, corporate directors, and horse and cattle breeders. Excerpt from 'Hot Pink Summers' catalogue essay, Helen Jackson, 1995.

The Lady Barbara Grimwade Costume Collection is comprised of Lady Barbara Grimwade's personal apparel and includes 145 pieces of clothing, 10 hats, 19 handbags, 66 pairs of shoes and assorted accessories of gloves, belts and scarves. In its breadth, this significant acquisition ranges from the mundane to the memorable, therefore giving a balanced representation of one person's taste. Following Lady Barbara Grimwade’s death in March 1990, Ararat Gallery formally accepted the generous gift of clothing and accessories donated by Lady Grimwade's son, Mr Angus K Grimwade, on 28 August 1991. Subsequent smaller donations in 1995 enhanced the collection. Lady Grimwade's Scottish forebears, the Gaerloch Campbells, first settled in Australia in 1861 in the Ararat-Beaufort district. Her great great grandfather, Mr Henry Campbell, died on the voyage to Australia. His widow, Jane, with 10 of her 13 children, farmed and grazed land, firstly at Stockyard Hill then at Fiery Creek, near Buangor, before leaving the shire in 1873. Lady Grimwade held a privileged position in Melbourne society. As the wife of Sir Andrew Grimwade, a prominent businessman, Chairman of several boards and a Trustee of various committees, Lady Grimwade met with royalty, heads of state, politicians, corporate directors, and horse and cattle breeders. Excerpt from 'Hot Pink Summers' catalogue essay, Helen Jackson, 1995.

The cast of a captive male Sumatran Tiger aged 5 months was made by David Pepper-Edwards at Taronga Zoo, Sydney, NSW. David Pepper-Edwards used a number of plaster cast footprints for comparison of unidentified field casts.Two plaster casts of a five month old male Sumatran tTiger footprint. These casts were used in the identification of photographs and sightings of large cats in the Australian Bush. Australian Animal Folklore Collectionverso: TZ, Sumatran Tiger, males, 5 months, 3/04australian animal folklore collection, david pepper edwards, pepper edwards, big cat, cat, sumatran tiger, plaster cast, footprint, mythical, myth, folklore

The cast of a captive male Golden Cat was made by David Pepper-Edwards at Taronga Zoo, Sydney, NSW. David Pepper-Edwards used a number of plaster cast footprints for comparison of unidentified field casts.Plaster casts of a male Snow Leopard showing front and rear footprints. These casts were used in the identification of photographs and sightings of large cats in the Australian Bush. Australian Animal Folklore CollectionVerso: TZ, Snow leopard, male, 27/7/03, front + rearaustralian animal folklore, david pepper edwards, pepper edwards, snow leopard, big cat, cat, footprint, cast

Regional costumes conveyed information about the wearer, e.g., particular part of the country or province; religion; wealth.Doll dressed in the traditional costume of a man from Zeeland.The costume jacket has the brand name "Dovina" Rotterdam-Holland on the back.

This hat belongs to the 1964-1968 uniform era.Complements the collection of air flight crew attire.Blue woollen hostess pillbox hat with white inside lining and blue sweat band and mesh front and rear inner. White label Nivek Headwear.Thin chin strapuniform, hat, khaki, hostess, stewardess, flight attendants, nivek headwear

Part of hostess/stewardess uniform designed for Ansett Airlines of Australia 1969 to 1972. Donated to Sir Reginald Ansett Transport Museum. Complements the collection of air flight crew attire 1969 to 1972.Beige pillbox hat, with a flat crown and straight, upright sides.Turned brim, featuring peaked detail on one side. Piped edging. Heavy duty cotton fabric with reinforcing stitches. Fawn grosgrain ribbon interfacing inside. Cream Bem silk lining. Gold coloured badge features 1968-1981 Ansett logo: A Delta"Nivek Headware Reg. Melb" on label inside. Blue ink numeral 21 handwritten on label. Possibly size 21 inch hat.hostess, 1970's, flight attendants, ansett airlines of australia, stewardess, pillbox, 1969-1972, beige, nivek headwear

Ansett Airlines of Australia 1972-1977Complements the collection of air flight crew attire.Orange bowler hat, with black stripe on band and around crown, lined in cream material. This hat comes with the round Ansett Delta - golden A shape on black enamel - insignia attached in front. Made by NIVEK HEADWARE. Reg. Melb. Donor: EDDY hostess, flight attendant, uniform, orange, 1972-1977, bowler, nivek headwear, stewardess, ansett, delta

About the 1992 Barcelona Olympic Games donator 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 technichian, 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 trhe 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.Yellow shirt, one pocket on left breast. The cuffs and the collar are white.On label - Barcelona 1992 Official Uniform supplied by Australian Wool Corporation1992 barcelona olympics, wool, australian wool corporation

About the 1992 Barcelona Olympic Games donator 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 technichian, 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 trhe 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.Floral tie with cream, red, green native flower design.On label - Woven & manufactured in Australia by "Tee-Dee" exclusively for the Australian Wool Corporation1992 barcelona olympics, uniform, tie, australian wool corporation

About the 1992 Barcelona Olympic Games donator 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 technichian, 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 trhe 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.Green jacket with Olympic emblem on left breast pocketLabel 1 - Barcelona 1992 Official Uniform Supplied by Australian Wool Corporation Label 2 - Fletcher Jones Australia Label 3 - Warm iron dry clean only On jacket breast - Australia Barcelona 19921992 barcelona olympics, uniform, tie, australian wool corporation

Oxford University Press -- National Gallery Booklets - published 1966 Female Costume - 19th Century - Marion Fletcher 27 pages - descriptions- picturesFemale Costumefemale costume - 19th century, marion fletcher, national gallery press