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

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.8341.1 - A pair of dark green trousers made from a wool blend fabric. 8341.2 - Green sample fabric with labels stapled on. One staple that was used to attach the label has gone through several layers of fabric preventing it from being unfolded. 8341.3 - Green sample fabric with white thread attached where it has previously been sewn. 8341.4 - Green sample fabric. 8341.5 - Green sample fabric.8341.1 - On label - FLETCHER JONES 8341.2 - on labels- Wool PE. 80:20 FAILLE WEAVEolympics, 1992 barcelona olympics, olympic uniforms, trousers, wool, fletcher jones, wendy powitt

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.8340.1 - A pair of men's green shorts made from a wool blend fabric. 8340.2 - Green sample fabric with labels attached. 8340.3 - Green sample fabric.8340.1 - on label - FLETCHER JONES 8340.2 - on label - Wool PE. 80:20 PLAIN WEAVE SULZER LOOMolympics, 1992 barcelona olympics, olympic uniforms, wool, fletcher jones, wendy powitt, shorts

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.Cream full length trousersolympics, 1992 barcelona olympics, olympic uniforms, trousers, wool, wendy powitt

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.Olive green culotte shortsolympics, 1992 barcelona olympics, olympic uniforms, wool, wendy powitt, culottes

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 stretchGreen knee length skirt with button and zip back. Has two pockets, and two darts in both front and back.Label 1 - Barcelona 1992 Official Uniform supplied by Australian Wool Corporation Label 2 - Fletcher Jones Australia 141992 barcelona olympics, australian wool corporation, wool, olympic games official occasions

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 button up tailored jacket with two faux pockets and a breast pocket on left hand side. Olympic logo on left breast pocket.Label 1 - Barcelona 1992 Official Uniform Supplied by Australian Wool Corporation Label 2 - Fletcher Jones Australia On breast of jacket - Australia Barcelona 19921992 barcelona olympics, uniform, jacket, fletcher jones

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

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.Straw hat by brand ‘Akubra’ in the style ‘Olympian’, size 56. Sides of crown woven with decorative pattern and hatband printed with native Australian flora. Retains original swing tag.Labels: Akubra / 56 / Olympian / MADE IN AUSTRALIA1992 barcelona olympics, uniform, australian wool corporation, hat

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.Straw hat by brand ‘Akubra’ in the style ‘Olympian’, size 59. Sides of crown woven with decorative pattern and hatband printed with native Australian flora. Labels: Akubra / 59 / Olympian / MADE IN AUSTRALIA1992 barcelona olympics, uniform, australian wool corporation, hat

The Paddle Steamer Etona was named after Eton College in England. In its earlier days it served as an Anglican Mission boat closer to the mouth of the Murray River. It ended up being bought by two Echuca businessmen, Ian Stewart, a solicitor, and Phil Symons, a chemist. They spent a couple of weeks steaming it up from Goolwa to Echuca where they placed it on the slipway to undertake restoration work. Ian Stewart's Holden is seen alongside the boat. The Moama Slipway was located on the NSW side of the river directly opposite Evans Bros. Sawmill. The boats would be pulled up the slipway on cradles (visible under the boat) by the steam winch seen in the foreground. George Coop had a minor role in assisting with the restoration of the Etona. New redgum planks were bolted to her underside and these were sealed (or caulked) by Phil Symons and Ian Stewart by ramming bitumen soaked rope into the gaps. Other volunteers on hand such as George would apply a putty mixture of bitumen and cement dust over the bolt heads (resulting in the loss of two very nice khaki shirts).Digital TIFF file Scan of 35mm Ilford FP3 black and white negative transparencygeorge coop collection, echuca, ian stewart, moama slipway, phil symons, ps etona, river boat

Depicted are eight young women all dressed in white tennis uniforms comprising a knee-length skirt, knitted V-neck jumper with two presumably black stripes, a collared white shirt, white socks and white sneakers. The group is posing for the photograph on a tennis court on the grounds of Ruyton Girls' School. Six of the women are standing up, and two of the women are kneeling in the front row and to the right side. All of the women are holding tennis rackets. The earliest documented mention of tennis being played by students at Ruyton Girls' School is at least 1905. The February 1910 edition of The Ruytonian notes "the Ruyton Tennis Club have had a very successful year ... again won the Kia-Ora club pennant; this is the third year in succession, and fifth time altogether." Ruyton are recorded as having played intra-school tennis with Aldworth Girls' Grammar School, Lauriston Girls' School, and Strathearne Presbyterian Girls' School. The third woman from the left in the back row has been identified as Helen Gordon (maiden name Cole).The record has strong historic significance as it depicts a former notable student, Helen Gordon (maiden name Cole). Helen started at Little Ruyton in Prep 1940 and finished Year 12 in 1952 as School Captain, Bromby Captain, Form Captain for Matric, Tennis Captain, Hockey Captain, Swimming Vice Captain, and an award for Best All-Round Girl. She also played baseball for Victoria. After finishing school, Helen went on to graduate from the University of Melbourne as a physiotherapist in 1956. Her first position at age 19 involved setting up clinics with the Victorian Health Department Poliomyelitis Rural division. Helen’s strong ties to Ruyton continued when she held the position of President of the Old Ruytonians’ Association from the start of 1966 to the end of 1967. In 2019, Helen received an Order of Australia Medal for service to community health as a physiotherapist. She was also the recipient of the 2022 Victorian Senior Achiever Award at Parliament House. Helen passed away in July 2023 at age 88. The record's significance is further enhanced by its strong provenance, having been produced by Ruyton Girls' School and donated to the Archives by a familial connection.Black and white rectangular photograph printed on matte photographic paper.Reverse: HELEN GORDON / 1952. / Elaine (?) c Alpin / Elaine Macdonald . / Sally Backhouse /ruyton girls' school, kew, victoria, tennis, sport, women's sport, students, school, 1950s, uniform

Button distributed to and worn by Australian Nursing Federation (ANF) members and staff as part of a 2003-2004 campaign to secure minimum nurse staffing in the public healthcare sector. The '5-4-20' denotes a minimum of five nurses for twenty patients in a general medical or surgical ward. During this period, staffing ratios were secured as part of bargaining negotiations between unions and employer groups. After decades of campaigning from the ANF/ANMF, ratios were legislated for the public sector in Victoria with the passing of the Safe Patient Care (Nurse to Patient and Midwife to Patient) Bill in 2015. This campaign was featured in ANF Victorian Branch newsletters from late 2003 to early 2004. Entitled the '5-4-20 campaign', it was officially launched on 19 November 2003. Advertisements and shirts from the time featured the slogan, '5 nurses for 20 patients. Nothing less!' along with the ANF logo and illustrations by The Age cartoonist Ron Tandberg. The campaign was to promote the role of minimum nurse to patient ratios in ensuring patient safety and encouraging nurse recruitment and retention.Circular yellow, blue and red badge. Silver metal, plastic-coated, with safety pin fastener adhered to back. Badge printed with '5-4-20' and a blue and red triangle design.nursing, ratios, workforce, staffing, nurses, unionism, badges, buttons, pins, campaigning, trade unions, labour history, safe patient care (nurse to patient and midwife to patient ratios) act 2015, australian nursing federation, victoria, enterprise bargaining

1. Shirt - light khaki colour cotton/polyester fabric, short sleeves, shoulder epaulettes, two front pockets with button down flap, plastic buttons. Left sleeve - fabric patch, embroidered 'Rising Sun Badge' "THE AUSTRALIAN ARMY", white cotton manufacturers label, back below collar. 2. Trousers - khaki colour wool/ polyester fabric. Service dress style with fob pocket, two side pockets, one back pocket with concealed button down flap. Plastic buttons and metal zipper fly. Khaki polyester fabric lining waist and pocket lining. White cotton manufacturers label back pocket lining.Manufacturers information on labels - black ink print. 1. "ADA/ 2910002/ JUN 2001/ NSN: 8405 66 133 5955/ SIZE 40/ NAME/ SERVICE NO/ 65% POLYESTER/ 35% COTTON/ MADE IN AUSTRALIA" 2. "ADA/ 4500299219/ 2005/ NSN: 8405 66 140 7088/ SIZE W821L 78/ NAME/ SERVICE NO/ 50% WOOL 50% POLYESTER/ DRY CLEAN ONLY (P) / REPRESS ON ORIGINAL/ CREASES. USE DAMP CLOTH/ OR MEDIUM TO HOT/ STEAM IRON/ MADE IN AUSTRALIA"uniform, army, service dress

This case belonged to Leonard Thomas (VX21070) who was born on 23 Aug 1900 in Cardiff England. By the Second World War, Thomas had emigrated to Australia and was residing in Elwood when he enlisted in Caulfield in 1940. Thomas served during the war as a Private and was discharged on 31 May 1949 from the AIF Mov and Control Group. His full service records are not currently available via the National Archives Australia and so it is unclear whether this case was part of the equipment of his role or a personal item.This case contains a number of inscriptions which may aid researchers to understand the life and movements of the owner, Leonard Thomas. The apparent crest is of special interest, suggesting that Leonard Thomas was connected to equine activities though the unavailability of his service records mean this fact is not confirmed. The item has interpretive potential, to discuss matters of equipment, emigration, use of horses during war and possibly leisure activities if the crest is taken as a reference to polo.Horse shoe shaped case in brown leather constructed of a lid and base. Used for storing shirt collars. Lid and base respectively constructed of two pieces of leather (one top and one edge) which are stitched to heavy card interior lining, mustard yellow in colour. The lid and base are held together by a sewn on leather strip and fastened at the top with a metal buckle; the holed strap through which the buckle attaches has broken. This strap in turn passes vertically down the back of the case and underneath (forming the strip which joins the two halves). Exterior base carries handwritten inscriptions, as does the interior lid. Black ink stamps throughout.Stamps read "L THOMAS" along an upturned horse shoe, underneath which are possibly clubs and an up-facing arrow. Service number written on side of case reads "VX21070". Handwritten inscription reads "Leonard Thomas/33 [illegible three words]/Cardiff/April 20th 1921." Interior of lid reads "LEONARD THOMAS 5-2-20" with a striped triangle below.case, horseshoe, cardiff, england, united kingdom, second world war, elizabeth thomas, world war ii, world war 2, 1940s, emigration

This is a photo of the "Queen Competition", probably the best remembered entertainment of the 1930's. Four local lasses were chosen to represent the following: Bellfield Hotel, Grampians House, The Cricket Club and the Grampians Mountains. When the long awaited evening came each Queen and her attendants paraded through the hall, the results were announced and the winner (who this year was Valerie Evans) took her place on a throne erected in the middle of the stage. The other Queens made their way to thrones on either side of her. The audience were treated to a right royal display as the "Bishop" placed a crown on the winner's head. Much merriment followed including a play, with students dressed as Minnie and Mickey Mouse and other Disney characters. For the names of the people in the photo refer to "Bridging the Gap" by Ida Stanton, p.88. The photo shows a group of people arranged on and below a dais. There is a woman dressed as royalty sitting on a throne in the centre, flanked by a man dressed as a bishop on the left and a man dressed as a courtier on the right. There are two young girls in long white dresses wearing flowered bands in their hair standing in front of the men. There are more girls in white dresses and flower bands along both sided of the dais and two youths wearing ruffle fronted shirts and holding batons/walking sticks(?) at the front of each row of girls. Carpeted steps lead down from the dais and in front of the dais on either side are two boys dressed as pages. Flower arrangements flank the foot of the stairs.recreation, entertainment

Black and white photograph of Bennett's Arcade. Clock face up high at rear with policeman's face on dial., Taubmans paint sign under. Baskets, garbage bins, lawn mowers, enammelled cast iron pots. Various other hardware. Adult male in sports coats, jumper, shirt and tie holding hand of small girl in dark coat with beret, lace up shoes. Female in background with hat, overcoat. Female figure in foreground dressed in long coat with flower on collar, scarf, hat. Small boy in double breasted coat, cap and lace-up shoes. Patterned, tiled floor. C. Bennetts Arcade in ink on rear of photo.A. Doneyplace, arcade, bendigo

Black and white photo of four children standing in a group. They are dressed in track suits, t-shirts and swimming costumes. All the children have medals on cords around their necks. On the front of the photo is written: 1973 Haydn Mathers, 1973 Grant Mathers, 1973 Lauren Campbell, 1973-74-76 Deslys McDonald. From L/R Melb All Junior Lauren Campbell 100m brst 3rd. Hayden Mathers 11yrs 50 B/K 1st Deslys McDonald 50m Brst 3rd Grant Mathers 13 100m B/K 1st On the back of the photo is written: Melb All Junior Medallist Distrecreations, sports, swimming

B&W photo of Joy, Lynette and John Hermon at Menzies Creek on the occasion of Lynette's 2nd birthday. Photo shows the children sitting on the front door step. There is a wooden framed chicken wire fence to the left, a screen door behind them, and on the right is what appears to be a wooden display stand with two shelves and turned legs. Joy is wearing a dark skirt with shoulder straps over a light, collared blouse, and a bow in her hair. She is holding a doll in front of her. Lynette is dressed in a smocked patterned dress. John has a shirt and tie, and shorts with braces. A doll is also sitting on the ground in front of him. Dated 24th November 1952.

Henry Beater Christian (1886-1962) , was a descendant of one of the earliest settler families in Kew. Employed at the Kew Asylum as a 'public servant', he was a skilled amateur photographer, photographing numerous scenes in Kew and on his travels around Victoria. The majority of his photographs date from 1916 to 1929. His finest photographs are housed in two photograph albums. Digital copy of a photograph from page 28 of the 47-page photograph album containing 261 gelatinous silver images, loaned by Diane Washfold with permission given to digitise and hold a copy in our collection. John Chapman has written in 'Bushwalking Clubs - A Brief History', about the establishment in Victoria of the first bushwalking club in 1888, and the popularisation of bushwalking during the interwar period. Henry Christian's 'walks' appear to have been undertaken solely or with a companion/s. This photo was taken on a trip trip between Cockatoo and Gembrook in Victoria and shows a man standing on a bush track to the left of the photo. He is wearing a suit, shirt and tie and hat."Cockatoo & Gembrook [illegible]henry beater christian (1886-1962), landscape photography, christian-washfold collection, photograph albums, bushwalking, cockatoo, gembrook

Series of black and white photos depicting The Hill family and friends during the post war years. Total number 9 photos. Two young ladies one seated in a deck chair and the other to the right standing with her right arm on the back of the chair, both girls wearing pinafores and white blouses at Brighton January 1918. Mog and two small girls all wearing white standing in front of a wooden structure and garden in background, Bendigo 1918. group of four girls and four boys, three of the girls are dressed in white and the fourth in a darker colour, one of the boys is wearing a white shirt and waistcoat two of them are in white shirts, two in middle background are indistinct, 17 Clive road January 1918. Double exposure gives the outline of a car in front of a white picket fence, right foreground at rear of car there is a group of adults and children that is indistinct for details, St Patrick's procession 1918 and family car. Rosa in light coloured dress with white collar, garden setting 'Moorilim' October 1918.Unnamed girl 'a Vision' wearing a white dress sitting on a wooden stump that is part of a building support, to left is a man in dark waistcoat and trousers with a white shirt sitting on the ground with his back to an axle with two large wheels, and a building support, Hibernian Picnic Axedale November 13 1918. Two ladies in foreground both wearing white, one also wears black hat and scarf, to left on stump is a light coloured hat and white coat, background has girl dressed in white blouse and dark skirt and further back can be seen more people, Hibernian Picnic 13 November 1918. 'three Merry maids' sitting on blanket on the ground two dressed in full white and third white top and dark dress, more people in the far background, Hibernian picnic Axedale 13 November 1918. Mrs Cavagna and Carmy, young girl dressed white dress with black belt and long white socks and black shoes, seated lady in white dress and dark hat with black veil, number of people in the far background, Hibernian picnic 13 November 1918.Hilda Hill Personal Collectionaustralia, history, post war life

Refers to the service of Lt.Col. "Roy Shadforth".1. Red waist jacket, white collars and white cuffs. 38 BN. R.V.R. Badge (Gold) on collars. Epaulettes show gold Lt.Col. badges and gold A.M.F. buttons. It has one interior pocket. 2. Red sleeveless vest. 4 brass (Gold) buttons, AMF motif, lined with a faint light cotton. 2 exterior pockets. 3. Shirt, short sleeved - off white. polyester cotton, 6 clear buttons, one breast pocket. 4. Black bow tie with plastic mount. 5. Trousers, woollen, black. Red pin stripe on outside legs. Lined with same cotton as vest. Straps at bottom of legs to hook up under feet.1. Written inside one arm pit is Shadforth. 2. Written inside vest is Shadforth. 5. Written on trouser pocket is Shadforth.post ww2, cmf, uniform, roy shadforth, passchendaele barracks trust

Royal Australian Navy Uniform belonging to E Rayner. Sailor cap/lid belonged to LS MTP Ross.1. Jumper/Barathea - Long sleeve, black wool/polyester fabric. Insignia - left sleeve depicting rank - right sleeve - depicting category. 2. Trousers - bell bottom, black wool/polyester fabric. 3. Shirt - white polyester/cotton fabric, short sleeve, navy blue trim to square neckline. Insignia on left sleeve. 4. Collar - Navy blue with three white stripes, cotton fabric - lined. 5. Silk - black polyester fabric. 6. Bow - Navy blue cotton tape. 7. Lanyard - white cotton cord. 8. Lid - Sailor's cap - white plastic with black band with Navy blue chin strap.1 & 2. Maker's label - Red and white print. Hand embroidered red cotton "E. RAYNER". 3. Handwritten blue ink "44" on back of neckline. 4. stamped in black ink " E.W. RAYNER", makers label. 8. Handwritten, black ink "LS MTP ROSS" inside on crown. Tally band embroidered gold thread "H.M.A.S. CERBERUS' on black band.uniform, ran

“FARELF” Far East Land Forces (Malaya) “BCFK” British Commonwealth Force Korea. All photos relate to the collection of Francis William (Dinky) DEAN BEM, VX93960 2nd AIF, 3742 1 RAR 1943 - 1975. Refer Cat No 124.2 for his service history.All photos are B & W. (.1 - .4) Three soldiers sitting at a table with one standing looking over. (.5) Soldier throwing water over himself. (.6) Soldier kneeling with an Owen gun aimed. (.7) Soldier cleaning a weapon. (.8) Two soldiers looking out through an aeroplane door. (.9) Soldier, no shirt on aiming a pistol. (.10) Soldier with a dart or rod in his mouth. (.11) Soldier kneeling aiming what appears to be a shotgun. (.12) Soldier inspecting the bar real of an Owen gun. (.13) Soldier inspecting a pistol. (.14 - .15) Two Nurses talking to two soldiers. (.16) Large group of soldiers on the deck of a ship.(.1 - .15) On rear stamped in purple. “Public relations Australian Army Force GHQ FARELF, GUN ....... MC” After GUN on each photo is an individual number. (.16) On rear stamped in purple. “Photo No, please credit to Public relations HQ BCFK” In pencil. “2961”photography, military, korea, malaya

Two handwritten notes. Rectangular piece of heavy white paper. Handwritten in ink "Dress shirt fronts, hand sown by French nuns, brought to Australia by Rev. George Thorne, Stv Saviour's C of E, Serpentine." Left hand lower corner - probably a later addition "1230" Donor Elsie Bailie was born in 1895 and died in 1988. Rectangular piece of heavy white paper. Handwritten in ink "George V Lansell baby clothes. Purchased "Dendorah" Auction Donated by Josephine Bailie. Josephine was born in 1917 and died in 1983. "Dendorah" now part of Catholic College Bendigo. Senior Campus. Left hand lower corner - probably a later addition "1231"document, memo, hand written note

Clothing. Men's cream coloured long sleeved silk shirt. Stiffened stand up collar (2 cm) with button hole at centre back and centre front. Centre front opening with placket fastened with two X one cm white buttons plus double button hole on collar with cuff link. Fabric loop at centre back below collar. Long sleeves have 7 cm turned back cuff with double button holes and white plastic cuff links. Sleeves have 18 cm openings on under side seam fastened with 1 cm button and button holes. Silk fabric has glossy self pattern of flowers and leaves.Stamped inside collar, ''15 1/2''costume, male, men's cream coloured silk shirt

Copy of a black and white photo of six fire brigade members with their championship shield. Notice above the shield has written on it: Menzies F. B. Championship Shield. three of the team are standing behind a table, two are seated at the front ends of the table each side of the shield and one is sitting on the floor holding the long tap. Two of the men at the table are holding an end hose fitting. The shield is a large round one with a circular piece in the centre with a fireman holding a hose. There are smaller shields surrounding the centre. Some keys? or fittings are at the top of the shield. The men are wearing long white trousers and long sleeve shirts buttoned up to the neck. A pot plant is on the left of the photo and the background is a garden scene.bendigo, history, long gully history group, the long gully history group - menzies f b

This photograph shows one of the aspects of nursing care given by Royal District Nursing Service (RDNS), Sisters who worked in the community. The Sister attending had received instructions for care of this toddler's wound from a Doctor. The Sister is using a dressing tray which was sterilized at the RDNS centre. At the time of this photograph many hospitals provided wound dressings for their patients when they returned home. If not attached to a hospital, the family bought their own dressings, though the Sister carried spare dressings in their cases if needed at the time of their visit. The Trained nurses of the Melbourne District Nursing Society (MDNS), from its inception in 1885, provided wound care to their patients, who ranged in age from the very young to the elderly. As research developed better products and dressing materials the methods and medication applied to wounds changed. MDNS received Royal patronage in 1966 and as Royal District Nursing Service (RDNS), the Education department developed programs, such as Wound Care Programs, to provide their Trained nurses (Sisters)) with methods of best quality care. The Sisters liaised with the patient’s Doctors and hospitals to provide information on the progress of patient’s wounds and to receive any change of wound care from the Doctors. RDNS introduced Wound Care Specialists who carried out assessments and provided advice and support to the District Sisters working in the field. Black and white photograph showing a Royal District Nursing Service (RDNS) Sister, who has sort dark hair and is wearing a short sleeved white gown over her uniform; the sleeves of her grey uniform skivvie are seen. She is sitting side-on with her left hand resting on the right leg of a seated dark curly haired toddler; her right hand is on a bandage which is from ankle to thigh on the left leg of the toddler. The toddler is wearing a T-shirt with a pattern on the front, and is sitting on a floral cover in a room in her home. At the rear of the photograph a floral covered table is seen with an open dressing tray on a sterile drape; a small jar and bottle are seen on the table. rdns, royal district nursing service, mdns, melbourne district nursing society, rdns wound care

1. Black woollen jacket. Gold Sergeants stripes. Survey Regt collar badges. It has 4 brass buttons on front. 4 major pockets on front, the top two are held shut with brass buttons. 2. Trousers black. Red welt down side of legs - width 4 cm. Buttoned fly, black plastic buttons for braces. 3. Shirt - white, long sleeved with 7 pearl like buttons on front. It has a pocket on the left breast. 4. Belt - black wool, brass buckle. 5. Tie - black woollen. 6. Cap - Officers. Black leather peak. Survey regiment badge. Red band around hat.1. Jacket - "A. Skidmore" NR possibly 36894.post ww2, army, uniform, suurvey regiment, passchendaele barracks trust