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

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

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

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

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

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

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

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

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

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

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

Photos from a book compiled about the Legacy children's residence called Stanhope. The photos shows three rooms of Stanhope, the study room and two bedrooms. They may be copies printed from slides (see 02520-02522). The photo of the study room is surrounded by the names: Denise Attewell, Susan Knowles, June S., Jill Baker, Colleen, Jacky and Sandra. One bedroom photo is captioned 'Packing for the holidays' and has the names: Lynn Hall, Jacky Mooney? and Jane Reed. The other photo has the names: June S, Glenyce Ring and Jennifer Biggs. Stanhope was supervised by Matron Dorothy (Dorrie) Vines from the time it opened in 1946 until she retired in December 1966. It is likely she compiled this notebook as she is referred to as 'self' in one photo. Individual pages of photos or newspaper clippings have been added separately. Items 01817 to 01836. Blamey House (purchased 1947) , Stanhope (purchased 1945) and Harelands (purchased 1950) were residences run by Melbourne Legacy to take care of children whose fathers were servicemen, and who may have been left orphans, or whose mother may have been unable to care for them herself, or they needed to stay in Melbourne for further education. A newspaper clipping at 01823 mentions the routine of the house including that the girls sleep in large airy bedrooms which they look after themselves. They generally do their own washing and ironing. There is a well equiped sewing room where they can make their own clothes. There is a radio and television and piano though between 7 and 9pm is quiet study time. A legacy member attended for dinner most evenings and the girls do their own washing up. They can cook in the kitchen if they wish. There is staff of an assistant matron, a cook and two housemaids. Girls have picnics and outings arranged and three or four times a year they have informal dances at Stanhope. Harelands accommodated boys and girls under the age of 14, Blamey House looked after boys over 14, and Stanhope looked after girls over 14. The children were cared for until they were old enough to become independent. An example of the interior of Stanhope residence and a glimpse into the life of the girls that lived there.Black and white photo x 3 of the interior rooms of Stanhope in 1962.Handwritten caption in blue fountain pen of the girls' names.residences, stanhope, study

George Stebbing arrived from England in 1857 and settled at Eltham after a short period at Kangaroo Ground. His occupation is often listed as a farmer but he built a number of important buildings between the late 1860’s and the 1880’s. Those remaining include Shillinglaw Cottage, St. Margaret’s Church, Uniting church (formerly Methodist Church) and House at 84 Pitt Street, Eltham. From 1871 to 1875 he was a member of the Eltham Shire Council. Evelyn Observer and Bourke East Record (Vic. : 1902 - 1917), Friday 12 March 1909, page 2 ELTHAM. (FROM OUR OWN CORRESPONDENT.) One of the oldest inhabitants of Eltham passed away during the early hours of Saturday last in the person of Mrs Mary Ann Stebbings. Her residence here covered a period of some-what over 50 years. She had been a widow for some time, her husband, the late Mr. Geo. Stebbings, having pre-deceased her some fourteen or fifteen years. During the later years of her life, she had resided with her niece, Mrs. Wm. Williams. She lived a very retired life and is said to have owned a considerable amount of property, local and suburban, at the time of her death, at the age of 82 years. She was interred at Diamond Creek on Sunday, 7th inst. Local Cemetery Excursion Sunday 27 May 1990 departed Eltham Shire Office at 9.30am and finish mid afternoon. Visits to Eltham , Kangaroo Ground, Queenstown (Smiths Gully), Nillumbik (Diamond Creek), St Katherines (St Helena) Hurst family graves at Hurstbridge and a little known early cemetery at Greensborough. Attended by 20 members. In each case we were introduced to the cemetery with a brief talk. At Eltham, Frank Burgoyne gave us the benefit of his knowledge as a member of the cemetery trust and at Kangaroo Ground, Bruce Ness spoke in a similar capacity. The lunch stop was at Hurstbridge where we visited the Hurst family graves. The President of Nillumbik Historical Society, Jock Ryan, joined us at the Nillumbik (Diamond Creek) cemetery. He travelled on to St Katherines, St Helena, where he talked on the history of the church and cemetery. 35mm colour positive transparency (1 of 23) Mount - Agfachrome Agfa CS System black 8 dotsshire of eltham historical society, cemetery excursion, graves, activities, cemeteries, george stebbing, george stebbings, mary ann stebbing, mary ann stebbings, nillumbik cemetery

George Stebbing arrived from England in 1857 and settled at Eltham after a short period at Kangaroo Ground. His occupation is often listed as a farmer but he built a number of important buildings between the late 1860’s and the 1880’s. Those remaining include Shillinglaw Cottage, St. Margaret’s Church, Uniting church (formerly Methodist Church) and House at 84 Pitt Street, Eltham. From 1871 to 1875 he was a member of the Eltham Shire Council. Evelyn Observer and Bourke East Record (Vic. : 1902 - 1917), Friday 12 March 1909, page 2 ELTHAM. (FROM OUR OWN CORRESPONDENT.) One of the oldest inhabitants of Eltham passed away during the early hours of Saturday last in the person of Mrs Mary Ann Stebbings. Her residence here covered a period of some-what over 50 years. She had been a widow for some time, her husband, the late Mr. Geo. Stebbings, having pre-deceased her some fourteen or fifteen years. During the later years of her life, she had resided with her niece, Mrs. Wm. Williams. She lived a very retired life and is said to have owned a considerable amount of property, local and suburban, at the time of her death, at the age of 82 years. She was interred at Diamond Creek on Sunday, 7th inst. Local Cemetery Excursion Sunday 27 May 1990 departed Eltham Shire Office at 9.30am and finish mid afternoon. Visits to Eltham , Kangaroo Ground, Queenstown (Smiths Gully), Nillumbik (Diamond Creek), St Katherines (St Helena) Hurst family graves at Hurstbridge and a little known early cemetery at Greensborough. Attended by 20 members. In each case we were introduced to the cemetery with a brief talk. At Eltham, Frank Burgoyne gave us the benefit of his knowledge as a member of the cemetery trust and at Kangaroo Ground, Bruce Ness spoke in a similar capacity. The lunch stop was at Hurstbridge where we visited the Hurst family graves. The President of Nillumbik Historical Society, Jock Ryan, joined us at the Nillumbik (Diamond Creek) cemetery. He travelled on to St Katherines, St Helena, where he talked on the history of the church and cemetery. 35mm colour positive transparency (1 of 23) Mount - Agfachrome Agfa CS System black 8 dotsshire of eltham historical society, cemetery excursion, graves, activities, cemeteries, george stebbing, george stebbings, mary ann stebbing, mary ann stebbings, nillumbik cemetery

McColl Rankin & Stanistreet, North Virginia Gold Mining Company NL. a/ Application for Mining Lease No. 10027, agreed to purchase from Executors in the Estate if the late W H Millet Allotments 164 & 165 Section (A) for the sum of 40 pounds, Executors agreed to sell North Virginia Gold Mining Company NL, Executors and beneficiary Herbert Jackson Leed consented to the sale. Dated 17/8/1933 Signed by: H J Leed & S Millett. b/ Letter dated 11/8/1933, an agreement to sell Allotments 164 &165 Section (A) Parish of Nerring County of Bendigo to the North Virginia Gold Mining Company for 40 pounds. Signed by S Millett. c/Typed receipt for 150 pounds as cash consideration for the purchase and transfer of leases No 10027 and 10150, Bendigo. Dated 21/8/1933. Signed J J Hall. Stamp Duty Stamp 3 pence. d/Particulars And Conditions Of Sale of Freehold Property, by private sale on 23/8/1933. Land allotments 168 & 159 of Section A Parish of Nerring County of Bendigo. Harry Eastwood Jones the vendor sold to North Virginia Gold Mining Company NL purchaser. Signed by Harry Eastwood Jones, Albert L Biescher, J Michelsen, Stanistreet. e/ Particulars And Conditions Of Sale of Freehold Property, by private sale on 23/8/1933. Land allotments 160 of Section A Parish of Nerring County of Bendigo. Charlotte Jones the vendor sold to North Virginia Gold Mining Company NL purchaser. Signed by Charlotte Jones, J Michelsen, Albert L Biescher, Stanistreet. f/ Written on blue paper. Received from McColl Rankin & Stanistreet for 200 paid up shares in North Virginia Cold Mining Co NL distinctive numbers 49801/5000. Signed Scott Bently. Dated 26/9/1933. Pinned to Typed receipt: 50 pounds and 1800 Fully paid up shares in North Virginia Gold Mining Co NL. Dated 13/1/1933 between H J Veale and J J Hall, J A Michelsen, J J Stanistreet date signed 15/9/1933. Stamp Duty Stamp 3 pence.organization, business, gold mine

A light blue document titled "Bendigo Teachers' College Graduation Ceremony 1956". Also on the front page is a list of the staff working at the college. On the inside cover is the "Significance of the Ceremony" and the "Order of the Ceremony". A welcome to visitors was given by Mr. F. M. Courtis and the Principal gave the college charge. The signing of the 'Graduation Book' was presented to Mr. A. L. Harris Inspector of Schools, by Miss J. C. Burnett. The final call of the roll for 1956 was given by Mr. C. L. Barker. Congratulations were offered by the Mayor Cr. A .S. Craig and Mr. S. J. Tongway Head Teacher of Gravel Hill State School. Finally the Occasional Address was presented by Mr. J. G. Cannon Chief Inspector of Primary Schools. The next page has a list of the "Students of 1955-56". The back page has the "Principal's Charge". Bolton Bros., Printers, Bendigo. The staff members names are Miss J. C. Burnett, Mrs. F. M. Petri, Miss G. L. Davie, Miss N. L. Hutcheson, Miss E. B. Morris, Mrs C. I. Skehan, Miss B. H. Cowling, Mr. F. M. Courtis, Mr. L. J. Pryor (Principal), Mr. C. L. Barker, Mr. M. Brown, Mr. T. J.McCabe, Mr. G. W. D. Boyd, Mr. N. J. Taylor, Mr. L. A. Hall, Mr. R. L. Strauch and Mr. G. S. Poulsen. The graduating students are - Margaret Carolyn Allinson, Robert Eric Allison, Diane Backhouse, Mary Elizabeth Barbour, Patricia Mary Blake, Peter Brian Cook, Edgar Vincent Crampton, Heather Lorraine Dalrymple, Josephine Margaret Delle Vergini, Roy Stanislaus Dickson, Margaret Isobel Diss, Barry Edwards, Margaret Lorraine Edwards, Edith Dawn Ellis, Graeme Leslie Evans, Dorothea Helen Farrell, Maureen Margaret Forrester, Roma June Hamilton, Carmel Catherine Hart, Esma Olive Haw, Margaret Helen Hogben, Beverley Norwood Hutchinson, Ronald Ireland, Edith Dawn Ireson, Joy Amelia Jeffrey, Valerie Margaret Jones, Noel Charles Kilby, Maxene Shirley King, Dorothy Lorraine Lee, Maxwell John Lovelace, Marie Joan Madin, Margaret Mary Mannes, William Daniel Manson, Janice Renyra Martin, Margaret Dawn Merlo, Anne Mills Moodie, Garry Norman Muller, Janice Nancy McKean, Ronald Walter McKendrick, Norma Maud Neal, Trevor Raymond Oakley, Bruce Peake, Marjorie Peile, Elaine Margaret Plant, Helen Rae Rawiller, Lynette Theresa Reid, Philip William Eric Reid, Geoffrey Rolf Richards, Margaret Rodgers, Anne Marie Sanders, Kenneth Maxwell Sargeant, Pamela Marie Saunders, Jessica Evelyn Scoones, Jean Neilson Shadforth, Beverley Mabel Slade, Nancye Elizabeth Smith, Margaret Eleanor Speers, Elizabeth Stewart, Leon Maurice Thompson, Margaret Gwen Till, Maureen Alma Trimble, George Walter Vincent, John Fairbank Phillip Waddington, Joyce May Walker, Austin Edward Walsh, Anne Elizabeth Warman, Raymond Henry Way, Dorothea Lillian Wearne, Aileen Margaret Weeks, Gordon Raymond Williams, Janice Margaret Wood, Doreen Amelia Worsnop and Marie Ethel Wright.bendigo, education, bendigo teachers' college graduatio, la trobe university bendigo collection, collection, bendigo teachers' college, bendigo, education, teaching, teachers, students, bendigo teachers' college staff, bendigo teachers' college students, tertiary education, teacher training, history, graduation, graduation ceremony, graduates, graduands

WW1. Y.M.C.A. London, French scenesWW1 Wallet . YMCA LondonYMCA Wallet containing personal papers and letters - Sid Ellis- -472.01 Black leather Wallet - Y.M.C.A. Australian Logo on front. On the rear of the wallet is a Motto "Talk Clean, Live Clean, Fight Clean. Play the Game." .02 Paper slip containing details of acquaintances service numbers name and regiment details. .03 Paper Sovenior of France - written in French. .04 Paper folded to contain 10 photographic shots of French scenes countryside, sailing cutters. .05 Receipt from Returned Sailors & Soldiers Imperial League of Australia(Victoria). Issued to S. W. Ellis Brunswick Sub-branch dated 31/12/1936 Badge Number 48697. .06 Envelope Service of Campaign - printed on the front the envelope is written in Portuguese. "Servicio De Campanha" .07 Small brown paper representation of a boomerang with Cooee in gold lettering embossed on the front. .08 Small white business card for "Cafe - Debit" written in French "Albert Succr" Le Havre. .09 Cut-out from a magazine "View of the Seven Bridges" .10 Cut-out From a magazine "The New Louvre. .11 Cut-out from a magazine "Vendome Place" .12 Cut-out from a magazine "The Madeleine" .13 Cut-out from a magazine "The Arch De Triomphe - it is 150 feet high and cost 362,000 Pounds" .14 Cut-out from a magazine "The Grand Opera House - its cost was about 1,190,500 pounds and it seats over 2,000 people" .15 Cut-out from a magazine "The Cathedral of Notre Dame - A splendid example of the gothic architecture of the 13th century. .16 Cut-out from a magazine "The Trocadero Place erected from the Universal Exhibition of 1878 . with a Hall Capable of holding 5,000 people. .17 Envelope sent to Private S.W. Ellis from Lara took a well-traveled route to reach him. .18 Postcard of Park & Bandstand, Melton, Mowbray to Pte S.W Ellis. .19 Y.M.C.A. Newspaper "The Rising Sun" Vol 1, No. 14 Dated 28/1/1919 London, England. .20 Small note from Y.M.C.A. with pencil note on the rear "423 Pte. Schofield E.J." .21 Small Calander for 1918 from Y.M.C.A. London. .22 Cut out from a newspaper of a Funeral notice of Mrs. Thompson. .23 Paper note a pencil written recipe for an ointment measured amounts of the ingredients. .24 Two copies of Australian Imperial Force, Message to the "Officers, Non-Commissioned Officers, and Men of the Australian Imperial Force." From Commander in the field. .25 Memo "the Diggers" by Capt. William Denny - an order form for copies of the book.472.01 Black leather with Y.M.C.A. Australian Armed Forces Logo embossed on the front and on the Back a motto "Talk Clean, Live Clean, Fight Clean, Play The Game." .02 White pocket notebook paper. .03 Small thin cardboard white with Blue and Red chevrons on each corner. On the reverse side is a word "Souscrivez!" .04 Thin paper folder in a cascade that contains 10 small photos of French scenery. .05 Tissue paper receipt No. 31996 dated 15/01/1916 from Returned Sailors & Soldiers Imperial League of Australia (Victoria). .06 Brown Envelope with Green printing of the front. Army Form Number W 3078 (P) .07 Small Brown paper, shaped as a boomerang with a saying printed on the front "Cooee" .08 Cardboard white Business card for Cafe-Debit, Le Havre, .09 Paper cut out from a magazine with a view of the Seven Bridges. The reverse is printed with magazine writings. .10 Paper cut out from a magazine with a view of the New Louvre. The reverse is printed with magazine writings. .11 Paper cut out from a magazine with a view of Vendome Place. The reverse is printed with magazine writings. .12 Paper cut out from a magazine with a view of The Madeleine. The reverse is printed with magazine writings. .13 Paper cut out from a magazine with a view of The Arc De Triomphe. The reverse is printed with magazine writings. .14 Paper cut out from a magazine with a view of The Grand Opera House. The reverse is printed with magazine writings. .15 Paper cut out from a magazine with a view of The Cathedral Of Notre Dame. The reverse is printed with magazine writings. .16 Paper cut out from a magazine with a view of The Trocadero Palace. The reverse is printed with magazine writings. .17 Paper envelope Addressed to Pte. S. W. Ellis No. 640 sent from Lara and redirected to the recipient by Army Base Post Office. .18 Cardboard Postcard with a photographic picture of The Park & Bandstand, Melton Mowbray. Addressed to Pte. S. W. Ellis No. 640. .19 Y.M.C.A. Newspaper "The Rising Sun" Vol. 1 No. 14. .20 Thin paper from Y.M.C.A. addressed to 423 Pte. Schofield E.J. .21 Cardboard folded in two, a calendar for 1918, and small Map of Aldwych, reverse side is Y.M.C.A. in London details. Printed in red and black. .22 Cut out from a newspaper of a Funeral notice of Mrs. Thompson. .23 Thin Brown Paper with a note in pencil containing a written recipe for an ointment measured amounts of the ingredients. .24 Two copies of paper pamphlets. To the Officers & men of Australian Imperial Force dated 14th November 1918, .25 A paper pamphlet "The Diggers" by Capt. William Denny

This six-postcard group is the third in a series of records of items in the collection of Edgar Dawson DCM. Dawson was the Regimental Sergeant Major of 57th Battalion, AIF. The 57th had a company of men largely from Bendigo and Eaglehawk. These postcards are from his personal album. Many are annotated in Dawson's hand with explanatory notes on the subject. Refer to Cat No 893 for his service details. Items originally in album cat. no. 207P Service details available through the NAA. Physical description Collection of six photo postcards B+W 1. Portrait of Richards, John 3593 57th Btn 2. Portrait of Moore, Charles 4593 57th Btn 3. Portrait of Mitchell, Leslie Fenen 4854 57th Btn 4. Portrait of Hutson, Herbert Spence 3540 57th Btn 5. Portrait of Steele, Leslie William 2737 57th Btn 6. Portrait of Spinks, William Edward 2239 57 Btn1. On verso "L.Cpl J Richards, St Killians Road, White Hills Bendigo Victoria 6-10-17" 2. On verso, "Chas Moore, 9-9-17" 3. On verso "Pt L.F. Mitchell, No 4854, 13th reinforcements, 29th Battalion, AIF Abroad" 4. On verso "This is one of our gallant runners France 1917" "Herbert S. Hutson, Lemon Grove, Heathcote Victoria" 5. On verso "With best wishes L Steele 10-2-18", "L. Steele, Balmoral Street, Essendon, Melbourne Australia" 6. On verso "W.E.Spinks, Templeton Street, Euroa, Victoria, Australia"postcards, 57th battalion, edgar dawson dcm

Comment from Sue Jacques 8/2/2019: My mother was Julienne Martin, middle row, she was 17 and her Deb partner for the ball Norman Woolley, Each Deb had to hand make their own pearl coronet for the occasion.Written on back of photograph, '"Mail" 6/8/1953. Ringwood C.W.A. Ball. Presentation of 13 debs. Standing from left: E. Harris, L. Walker, N. Skurrie, B. Hegarty, D. Grant, J. Martin, S. Bonsack, B. Skurrie, N. Parnell, P. Conlan, J. Allsop. Seated: R. Storey, Mrs. Pittle, Mrs. Giles J. Hodgson. The partners were: V. Wilton, W. Miller, B. Young, J. Moore, E. Reidy, R. Ingamells, J. Wilton, N. Woolley, P. Burns, J. Orr, R. Ham, E. Beggs, R. France'.

(1) Sepia photograph by Foster Martin, Melbourne, Curator, members of the Horticultural board of Advice, staff? and students pasted on to heavy cardboard. (2) As (1) but fewer people by JALMA Melbourne. Detailed description in handwritten catalogue. Note attached about donor's Great Grandfather, Joseph Harris seated front left. Further notes date it as 9 February 1894. (3) Framed version. (1) Handwritten description on reverse, "George Neilson born 1822 died 1897 Senior Officer in charge of the School of Horticulture at its inception 1891 (Back centre, no hat, white beard) Curator of Gardens 1872-about 1894 or 1895." "Stewart Neilson far left/soft hat & beard) (brother of George)" "Boyce Nurseryman next to S. Neilson" Charles Draper, seated second from left. (2) Handwritten on reverse "Geo Neilson 2ns from right white beard (illegible writing)" Charles Draper seated second from left. Alfred Bennett 1st left back rowfoster martin, horticultural board of advice, staff, students, joseph harris, charles draper, george neilson, curator, stewart neilson, boyce nurseryman, alfred bennett

Card Cover various with B/W Photos of the Stawell Gift, with a Colour Photograph of four runners finishing the Stawell gift.Stawell;s Gift Sprinting through 125 Golden Years Australia Post (In Logo) The Wimmera Mail Times (In Logo) On rear Cover To The Stawell Athletic Club Congratulations & Thank You Congratulations to the Stawell Athletic Club and all the volunteers and competitors who have contributed to the legend of the Australia Post Stawell Gift. This historic carnival has not only grown to become one of Australia's most prestigious sporting events, it makes a real contribution to the region's economy and spirit. We are proud to be part of your success. Happy 125th Anniversary from your partner. POST Principal Sponsor 1995 to 2002stawell athletic sport

An imaginary gathering of the nine Australian Ships which at different times served the United Nations Forces fighting the North Koreans and Chinese during the Korean War of 1950-53. The item belonged to Clarence Stanley FLENTJAR R38429 who enlisted in the Royal Australian Navy. He served on HMAS Cerebus, Tobruk and Melville and a veteran of the Korean War. The Korean War was a war fought between North Korea and South Korea from 25 June 1950 to 27 July 1953. The war began on 25 June 1950 when North Korea invaded South Korea following clashes along the border and rebellions in South Korea.North Korea was supported by China and the Soviet Union while South Korea was supported by the United Nations, principally the United States. The fighting ended with an armistice on 27 July 1953.Black frame with cream mount containing a screen print on silk depicting 9 naval ships and 4 airborne aircraft at sea Australia's Navy in the Korean War 1950-53 An imaginary gathering of the nine Australian Ships which at different times served the United Nations Forces fighting the North Koreans and Chinese during the Korean War of 1950-53. The aircraft carrier HMAS Sydney, in the centre, is being screened in close order by (clockwise from top centre) the frigates Condamine, Culgoa, Shoalhaven and Murchison, and the destroyers Tobruk, Warramunga, Anzac and Bataan. Airborne overhead are Firefly and Sea Fury aircraft from HMAS Sydney. White Plaque - mounted on glass - C S FLENTJAR 38429 HMAS Tobruk D37 Korea 1951-1952ran, korean war, hmas tobruk, hmas cerebus, hmas melville

A colour photograph depicting Morton House in Launceston, Tasmania. The photograph is set on a wide blue mounting board in a plain single-strip wooden frame. Affixed to the front bottom right hand corner is the oblong blue label of the National Trust of Australia (Tasmania) with printed heritage details of the house. On the back of the frame is the hand-written message from Dr Bath, information about the house, a reproduction of the brass plaque with historic details, and the framer's label.Handwritten on reverse. "Photo taken v presented by Stewart Bath S. 692" Handwritten on reverse. ""Morton House" / 190 Charles St / Launceston / Was St Johns Hospital 1844–1851" Reproduction of brass plaque on reverse. "ERECTED BY THE HISTORICAL SOCIETY OF TASMANIA TO COMMEMORATE THE FIRST USE IN AUSTRALIA OF ANAESTHETICS BY DR. W. R. PUGH IN ST. JOHN'S HOSPITAL ON THIS SITE 7TH JUNE, 1847. / UNVEILED BY THE MINISTER FOR HEALTH (HON. A. J. WHITE M. H. A), 7TH JULY 1947." Framer's label on reverse. "FRAMED BY WHITELAWS GALLERIES / The Picture Framing Specialists / 49A BRISBNE STREET LAUNCESTON 7250"photograph, morton house, historical building, historical house, house

This is a photograph of the Saunders Family at Orbost 1888-89. It is Arthur and Agnes Saunders with their children, Beatrice, Cyril, Hilda and Vera. Arthur Scott Saunders was born 1864 in Orbost and died 3.12.1913 in Orbost where he is buried. He was the son of Son of Thomas Frederick Saunders and Lucy Beard Scott. He was a storekeeper at Orbost, a member of the early Show Committees, a Rechabite in 1893, and was a member of the Board of Guardians of the Church of England from 1894 to 1913 where he served as secretary and treasurer of the Board. His wife was Agnes Louisa Stuart Morriss who was born in 1862 and died 26-11-1938 at East Malvern and is buried in . Orbost cemetery. She sold the business in 1919 to Mr J. H, V. Dale. She left Orbost with her two daughters for East Malvern in April 1927. Saunders General Store was opened in 1900, overlapping part of the present Mensland and Coultons. The ―Melbourne Store‖ refers to it being a branch of their Melbourne store. The shop was burnt down in the early 1930‘s. ( info. from Saunders Family Newsletter by John Phillips)This is a pictorial record of a prominent early Orbost family and is a useful research item.A black / white photograph of a family group with the parents seated and their children standing around them. In the background is a wooden fence. It is on a beige coloured buff card.on front - "Saunders family at Orbost" on back - " Saunders family at orbost, 1888 - 1889"saunders-orbost

This letter was written by a representative of the crew of the SS Siltonhall to the Mission to Seafarers in Oct 1929. Their ship caught fire in the Indian Ocean and were rescued by the SS Anthea. The crew was sent to Melbourne and spent some time at the Mission. Article in the Argus, Tuesday 15 October 1929, page 6 "THE SILTONHALL'S SEAMEN. TO THE EDITOR OF THE ARGUS Sir, the story of the disaster to the s.s. Siltonhall is still fresh in the public mind. The ship caught fire and she was abandoned and sank in the Indian Ocean. The crew took to the boats and were rescued and brought safely in to Melbourne. They have been with us now for nearly a week now, taking full advantage of the hospitality of the Mission to Seamen Institute.So far they have been provided with the bare necessities of one complete suit of clothing by the shipping authorities. They leave here to return home to England on Wednesday. If anyone will kindly contribute any articles of clothing or boots they will be most acceptable, especially as the men will be going to a cooler climate. Please send them to me. Yours Sincerily, HOWARD S. BAILEY, Chaplain, Missions to Seamen, Australian Wharf, Oct. 14."This letter and photograph indicate the valuable service that the Mission to Seafarers provides to crews of ships wrecked off the Australian coast. The smiling crew of the S.S. Siltonhall evidently appreciated that when they were in desperate need they were cared for. The picture was possibly taken in a nautical context, perhaps at the docks or on board a ship.B/W photograph of group of 22 men. Letter signed T. Bateman from crew of the SS Siltonhall dated Oct. 16th 1929. "Oct 16th 1929. / The members of the crew of the SS Siltonhall, / which caught fire in the Indian Ocean, and / was abandoned on Sept 21st 1929, wish to / thank the 'Missions to Seamen', and all those / concerned, for their hospitality, in the way of / Concerts, Socials, etc., also for boots and clothing / gratefully received. / On behalf of the crew. T. Bateman." photograph, letter, 1929, siltonhall, ship, crew, mission, seafarers, wreck, fire, bateman, melbourne, australia, shipwreck, reverend howard s. bailey, j. bateman

The Roadknight family settled on Ewing's Marsh on what is now known as the Old Station In 1850. The Lakes Entrance run was occupied by the late Thomas Roadknight. In 1852 his brother William took charge. Soon after this Corringle Station was occupied by the late T. T. Stirling. William was born at Collingwood, the son of William Roadknight and Jane Stirling. The Roadknight family came from Colac on board the Enterprise to their new home at Cunninghame. The house on the hill, now Pine Hill was named Merrangbaur (home of the lyrebird). William held the Lake Tyers and Snowy River run in partnership with Thomas Telfer Stirling who took up the eastern end of the run on the west bank of the Snowy River. The run included Ewing‟s Marsh — the Ewing brothers were earlier landowners but had no formal run in this area. William served four terms on the Tambo Shire Council as a representative of the Bendoc Riding despite not being a resident of the Riding. He was then elected to the Orbost Shire as a West Riding councillor in 1896-97, 1897-98 and was Shire President in his final year 1898-99 This item is associated with Roadknight family who were early settlers in the Orbost district.A black / white photograph of a family group of mother, father and six children standing outdoor. There is a dog lying in front .roadknight-william ewing's-marsh old-station-orbost

This writing desk was used by the Warrnambool Bank of Australasia personnel and the date associated with it (through unproven Historical Society records) is 1859. The Bank of Australasia was established in Sydney in 1835. The Warrnambool branch of the Bank of Australasia was established in 1854 in a stone cottage in Merri Street leased for two years. The bank was next located in a leased building in Timor Street with new purpose-built premises at the corner of Timor and Kepler Streets opening in 1860. In 1951 the Bank of Australasia merged with the Union Bank to form the A.N.Z. Bank Limited. In 1970 the E. S. & A. Bank and the London Bank of Australia merged with the A.N.Z. Bank forming the A.N.Z. Banking Group Limited with the business transferring to Liebig Street. The old Bank of Australasia building was purchased by the Warrnambool City Council and later sold to a private buyer. It is now a nightclub. The writing desk may have been used in both the Timor Street leased building and the bank building at the corner of Kepler and Timor Streets. William Palmer was the Bank Manager when the desk would have been first used. This is a most significant item as it comes from the Warrnambool Bank of Australasia, the first bank to be established in Warrnambool and a major banking business in Warrnambool for nearly 100 years. The desk was handed over to the Warrnambool and District Historical Society by Clarrie Kempton, the A.N.Z. Bank Manager in Warrnambool from 1964 to 1971.This is a wooden writing desk, possibly made of walnut wood. The base is rectangular with a drawer with a brass handle at the base. From the base the desk slopes up to a triangular shape with a slightly curved top. The middle of the desk has a front opening with two doors with four brass hinges with a brass lock. There are six bolts, one with a slot missing. Inside the doors are inset 10 wooden slots of different sizes to hold papers, letters, ink, dockets etc. Also inside the doors, behind a transparent material, are spaces for the day, date and month. These numbers and letters were once able to be changed according to the date. The writing desk is in good condition but a little stained. ‘Tuesday’ ‘8’ ‘November’ bank of australasia, history of warrnambool, history of warrnambool

Augustus Bostock was the 9th child of Robert & Rachael Bostock of Vaucluse Epping Forest, Van Diemen’s Land. He was only 4 years old when his mother died. He was inspired by his father to seek his fortune in the Western District of Victoria. He arrived around 1850. He married Margaret Aitkin in July 1865. Augustus owned several properties in the district and leased others. He sat on the court of Warrnambool, Mortlake or Hexham as required. He resided at Marramook in Hawkesdale and later moved to Vaucluse in Hopetoun Road Warrnambool, where he died in 1920 at the age of 87. He was involved in many aspects of life in the Western District, racing, cricket, and social activities to name a few. This document relates specifically to power of Attorney in relation to the Croydon goldfields in Northern Queensland which operated in the latter part of the 19th century. By 1907 it was failing although there were attempts to revive it in the 1920’s. Patrick O’Neil authorized as the agent for Augustus Bostock was a confidential mining agent for Sandhurst mines one of the larger mining companies at that period of Australian history.This is one of a number of documents which relate to the Bostock family who were one of the most important pioneering families of the Western District. They owned and leased various properties around Warrnambool and were involved in many aspects of social and business life. This letter records one of Augustus Bostock’s many interests, being for the Croydon goldmine which is situated on the Gulf of Carpentaria.White lined paper handwritten in black ink. Coomete, Hexham, Victoria printed at top right hand corner.Signed Augustus Bostock.warrnambool, augustus bostock, croydon goldmines, sandhurst mines, 1888, goldmining, patrick o’neil,

This notice relates to the prohibition of lighting fires,drying clothes or bringing inflamable material near any of the bridges in the shire. Offenders will be prosecuted. With a date of 1882 and the fact that bridges were mostly made of wood, it would have been of concern that the destruction of bridges was not only of great inconvenience but also of considerable expense. But the reality of bridges providing shelter and warmth in the colder months and the ensuring fires and burnt bridges has more than likely precipitated this notice. J W Crawley was shire engineer from 1876 until 1895 and for 10 of those years he trained his son J W Crawley who succeeded his father and served in the position for 40 years.He in turn was succeeded by his son Rolf Crawley in 1935. In 1963 the bridge over the Hopkins Falls at Wangoom was named the Crawley bridge in honour of service to the Shire of Warrnambool by members of the Crawley family. The Shire of Warrnambool was proclaimed in 1863 and covered an area of over 600 square miles. Much of it was incorporated into the Moyne Shire in the 1990's with some being included into the boundaries of City of Warrnambool. This banner is an interesting piece of history. It shows the issues confronting early settlers such as shelter and the chores of daily life but also the importance placed on infrastructure which was slowly taking place around the district. It was in the era of drainage and roadworks and hence bridges were an important part of that infrastructure. The name J W Crawley is one of importance in the Warrnambool district for his service over many years. Rectangular piece of cloth printed in black ink. The back is plain.Shire of Warrnambool By order of J W Crawley Shire Engineer, 13th November 1882. Thos Smith gas Printing Works Koroit Street Warrnambool.warrnambool, shire of warrnambool, bridges of warrnambool shire, j w crawley, warrnambool shire engineer, crawleys of warrnambool