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

Photographic Album - 19th Century Portraits. This album is in a handsome leather tooled cover with brass ring clasp - pages have gold edging to match the gold tooling on front cover.This album comes from ''Old Box 94'' which generally contains ephemera from Merle Bush. However, this album has no identifying inscriptions (but see the following notes). There are approx 44 portraits of children, males, females, mixed groups taken by a range of studio photographers (Sandhurst, Melbourne, Stuttgart and possibly from other cities?) There appear to be no inscriptions on the reverse of these photos - but not all have been removed for checking. One photograph (R Dermer Smith, Sandhurst has a photograph Number #753 on reverse and show a man/boy?, woman and child on the front verandah of a house. There are 6 loose cards within the book which may give some indication as to the family connection; 1. Mr W Tainsh - Echuca; 2. Frau Pastor Leypoldt - Lutheran Parsonage, Bendigo; 3. Miss H Janie Schleiger; 4. Citizens' Life Assurance Co Ltd - Represented by A A Brooker(?); 5. Card with inscription in German below print of ? Luther) and handwritten text in German on reverse (difficult to read), date 11/11/83; 6. black bordered card ''In Memoriam'' (no name).cottage, miners

The MDNS Trained nurses (Sisters) are about to board two motor vehicles outside their Nurses home, at 39 Victoria Parade, Collingwood, to be driven to give nursing care to their patients who lived a distance away. The lady Chauffeur is probably Miss Sword who was employed by MDNS in 1922-23; she was also in charge of the garage. This enabled the Sisters to do more visits in a day than when using Public transport all the time. This image also shows the style of cars driven in that era. The Sisters uniforms are grey and their hats have a red Maltese cross attached to the centre front of the hatband. Royal District Nursing Service (RDNS) has had various modes of transport over the last 130 plus years. At first, from 1885 as Melbourne District Nursing Society (MDNS), their Trained nurses (Nurses) walked the streets and lane ways amid the slums of central Melbourne. As the Society expanded public transport was used, and bicycles were bought by the Society in 1903 and used in inner areas until 1945. During the Spanish flu epidemic, in 1919, MDNS appealed for assistance to procure Motor vehicles so the Nurses could visit an influx of cases. Through trusts, grants and donations four 'Ford T Model' cars were procured which enabled the Nurses to triple their visits. Through constant use the cars were in such a poor state two were sold in 1922 and the others later. In 1922-23 three Peugeot cars were purchased and a female Chauffeur, 'Miss Sword', was employed who lived in the Home and was also in charge of the garage. MDNS was expanding, and In 1929 Melbourne District Nursing Society (MDNS) formed a volunteer Motor Auxiliary to transport their Trained Nurses (Sisters) to make visits more patients who lived a distance away. At first wealthy people offered their car and chauffeur, but then the general public supplied their own vehicles. They operated on week days when able and could take up to three Sisters at a time, collecting them from the Nurses Home, 39 Victoria Parade, Collingwood, at 9 a.m; dropping each Sister at a patient then picking them up and taking them to the next patient before completing the morning round and returning to the Nurses Home at 1 p.m.. The Sisters were able to double the number of visits they did each morning and did their afternoon visits on public transport. At its peak there were 60 volunteers but this fell off during World War 11. In 1944 the Red Cross were assisting, and by 1953 were taking out 16 MDNS Sisters. Appeals for volunteers occurred over the years, particularly during the Tram and Tramway Bus strike in the 1950s, and when the Royal Women's Hospital had an influx of births and wanted to send the mothers and babies home on day four but could not do so if M.D.N.S. could not visit. During 1962 the Motor Auxiliary transported 34 Sisters who preferred not to drive themselves, but as the MDNS fleet of cars grew there was less need for their service and the Auxiliary was disbanded in 1971. Some Sisters used their own cars; even a motorcycle was used by one Sister in 1933. All these forms of transport were intermingled and in the early 1950s, and now as Melbourne District Nursing Service, seven Ford Prefect cars were bought followed by twelve Ford Anglia cars 1955. Having received Royal patronage; the now Royal District Nursing Service (RDNS) had its own fleet of Holden vehicles by the mid 1960s and the Motor Auxiliary ceased operating in 1971 as by then all staff employed were required to have a driving licence. Seat-belts had been introduced to Victoria in 1959 and District fitted them to their cars from 1962, even though they did not become compulsory until 1970. The Holden vehicles were replaced with grey Holden Torana vehicles. After several years the fleet was changed to white Toyota Corolla vehicles. The Melways Directory of maps was introduced in 1966, which was a boon to the Sisters, though it was a few years before it went beyond Seville, so a large paper map was used by the Sisters visiting patients in the areas passed Seville. By 2009 there were 598 cars in the fleet and the Sisters travelled 9 million 200,000 kilometres – this is equivalent to 12 trips to the moon and back. IA black and white digital image showing, in the left foreground, the frontal view of an early model, 1920s, soft hooded car parked on the road next to the gutter. Two front spoked wheels are seen, and headlights sit either side of the radiator at the front of the nose shaped bonnet.. '3758' is written in white on the black number plate below the radiator. The female Chauffeur is dressed in a dark coat and peaked hat and is standing by the partly open driver's door. The passenger door is open and a Melbourne District Nursing Society (MDNS) Sister is standing on the footpath behind the door. Another Sister stands behind her. There is another similar car parked behind the first one. It is partly obscured, its hood is down; it has spoked wheels and one of its headlights can be seen beside the partially obscured radiator. Part of the black number plate can be seen with two of its numbers, '69', written in white. A partly obscured Sister is standing by the driver's door and another behind the open passenger door. Another Sister is standing at the rear of this car..The five MDNS Sisters are wearing their uniform grey coats and felt brimmed grey hats with a Maltese cross applied to the centre hatband, Leafless trees and some buildings can be seen in the background.melbourne district nursing society, after-care home, rdns, royal district nursing service, mdns motor auxiliary, mdns uniforms, miss sword, female chauffeur

A photocopy of newspaper publication of obituary for Annie Mavis Webster, MBE 21/5/1914 - 8/4/2000 An exceptional singer who contributed greatly to local Bendigo and Australia as well as abroad Bendigo born and raised by Edwin and Annie Webster, Education was at Camp Hill. A life long participation in and commitment to local music and Competition Society provided opportunities for performance. The ultimate prize for amateur singers at the time was the Sun News Pictorial Aria Competition, which Mavis attained as runner up in 1938 and as winner in 1939. Outbreak of WWII curtailed early opportunities for overseas travel but there was much call for her as recitalist, artist and teacher such as at The Sisters of Mercy at St Mary's Convent, Bendigo where she taught singing. Mavis gained impressive reputation and experience in numerous roles including as chorister (and founder of the all female choir and the Benola singers which she also named, after her home), and later (1960) included male voices; she was also conductor; musical director; and adjudicator at Eisteddfords. She laso taught at Girton, St Killian's. During the 1950s Mavis went on a very successful 9 month overseas trip on which she was inspired in many respects including the formation of the choirs. In 1978 Mavis was made a Member of the British Empire for her services to music.City of Greater Bendigo acknowledged Mavis contribution and skills by establishing the Mavis Webster Vocal Collection at the City library.bendigo, history, obituary and biography of annie mavis webster mbe, forest st methodist (now uniting) bendigo, girton, st killian's, herald sun aria, the eisteddford, sisters of mercy at st mary's convent, mavis webster vocal collection, city of greater bendigo, margaret watters.

Geoffrey MAINWARING (29 October 1912-13 April 2000) Born Adelaide South Australia Geoffrey Mainwaring studied at the South Australian School of Arts and Crafts before becoming an art teacher at Thebarton Technical School (1928-36). Mainwaring was adept at depicting a variety of subjects, from landscapes to portraits, and was very competent using a variety of media, including pencil, oils, and watercolour. He was a confident draftsperson, and completed many sensitively rendered portraits that give an insight into the character of the sitter. In June 1941 Geoffrey Mainwaring (SX13471) joined the 2nd Australian Imperial Force, and after five months was transferred to the Engineers and employed as a Sergeant-Instructor, specialising in demolitions. In late 1942, he was sent to New Guinea as an Australian army artist on probation. On 27 May 1947, Mainwaring was discharged from the Army, having served for five and a half years. He was appointed as an artist on a civilian basis until his paintings were completed in March 1948. In 1949 he was appointed Head of the Art School at the Ballarat School of Mines (now Federation University Australia). He continued to paint commissioned portraits for the Australian War Memorial until the late 1950s. Geoffrey Mainwaring died at Ballarat in April 2000. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.A framed and triple mounted pastel portrait of Professor Shirley Randell. Shirley Randell is a long-time activist for gender equality and women's empowerment in education, employment, public service and civil society in Australia, the Pacific, Asia and Africa. She was the first female dean at Ballarat College of Advanced Education (later Federation University Australia). Her appointment as Dean of Academic Affairs made her the first woman to hold a senior management position at the college. In 2019 Shirley Randell is a Member of the Order of Australia, having received the Officer of the Order (AO) award in 2010 for her services to international relations through education, public sector, institutional reform and economic empowerment of women in Australia, the Pacific, Asia and Africa. She is a member of many important boards and committees including the Australian Government Women’s Alliance – Economic Security for Women and the indigo foundation. An Ambassador of Dignity Ltd, the Australian Centre for Leadership for Women, Women’s International Cricket League/FairBreak and The International Alliance for Women, Shirley Randell is also a member of the Independent Scholars Association of Australia Council, Graduate Women International Projects Committee, and sits on the several editorial boards including the BioMedical-Central Women’s Health Journal. Gift of Professor Shirley Kaye Randell, AO, PhD, Hon.DLitt, FACE, FAICD, FIML, first woman in the Executive Team of the Ballarat College of Advanced Education as Dean of Academic Affairs, 1989- 1990signature bottom right - "G. R. Mainwaring 1989."art, artwork, available, geoff mainwaring, geoffrey mainwaring, mainwarring, pastel, drawing, portrait, portraiture, woman, professor shirley randell, ballarat, g. r. mainwaring, shirley randell

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

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

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

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

Robert Ashton Lister was born in England in 1845 into an industrial family. After attending the Paris Exhibition in 1867, Robert argued with his father and formed the R.A. Lister Company to produce agricultural machinery at his factory in Dursley, England. In 1889 he linked his machine with Pederson’s cream separator which now ran at a consistent speed due to a spinning centrifugal separator thus producing consistency of cream. It was marketed through the Commonwealth and Robert himself drove right across Alberta in Canada with horse and buggy to promote the machine. He also expanded the use of his machine to sheep shearing. In 1909 the Company acquired the rights to manufacture petrol driven engines. When World War 1 began in 1914 the Company focused on producing petrol engines, lighting plants and munitions for the War Department, the workforce was mainly female as the men enlisted and left for the Front. After the War, Robert Lister retired, and the Company was taken over by his grandsons Robert, Frank, George and Percy with A.E.Mellerup. Their father Charles represented the Company in North America and Europe. Foreign competition and over supply of second-hand ex-military engines and lighting sets saw profits drop but the Company managed to recover under the leadership of Managing Director Percy. In 1929 the Company designed the CS (cold start) diesel engine producing 6-7kW which became known as the Lister 9-1. The engines were all painted the same shade of Brunswick green. By 1936 Lister was producing a wide range of petrol and diesel engines most of which were small at 1.5 to 3 horsepower. These could be bought ‘stand-alone’ or powering a complementary range of pumps, churns, cream separators, auto-trucks, generating plant and sheep shearing equipment. The most successful was the D Type Lister introduced in 1937 most of which were rated at 1.5hp at 700rpm. More than 250,000 were sold up to 1964 and although RA Lister ceased production many years ago, hundreds of these engines are still in use today.Green Lister stationary engine with petrol engine Size 71J, 3 HP, 450 RPM painted Brunswick Green. Used to power pump or similar purpose. The engine was made in1928, Dursley, UKfarm machinery, churchill island, engine, stationary engine, lister

Robert Ashton Lister was born in England in 1845 into an industrial family. After attending the Paris Exhibition in 1867, Robert argued with his father and formed the R.A. Lister Company to produce agricultural machinery at his factory in Dursley, England. In 1889 he linked his machine with Pederson’s cream separator which now ran at a consistent speed due to a spinning centrifugal separator thus producing consistency of cream. It was marketed through the Commonwealth and Robert himself drove right across Alberta in Canada with horse and buggy to promote the machine. He also expanded the use of his machine to sheep shearing. In 1909 the Company acquired the rights to manufacture petrol driven engines. When World War 1 began in 1914 the Company focused on producing petrol engines, lighting plants and munitions for the War Department, the workforce was mainly female as the men enlisted and left for the Front. After the War, Robert Lister retired, and the Company was taken over by his grandsons Robert, Frank, George and Percy with A.E.Mellerup. Their father Charles represented the Company in North America and Europe. Foreign competition and over supply of second-hand ex-military engines and lighting sets saw profits drop but the Company managed to recover under the leadership of Managing Director Percy. In 1929 the Company designed the CS (cold start) diesel engine producing 6-7kW which became known as the Lister 9-1. The engines were all painted the same shade of Brunswick green. By 1936 Lister was producing a wide range of petrol and diesel engines most of which were small at 1.5 to 3 horsepower. These could be bought ‘stand-alone’ or powering a complementary range of pumps, churns, cream separators, auto-trucks, generating plant and sheep shearing equipment. The most successful was the D Type Lister introduced in 1937 most of which were rated at 1.5hp at 700rpm. More than 250,000 were sold up to 1964 and although RA Lister ceased production many years ago, hundreds of these engines are still in use today.Green Lister Stationary Petrol Engine Serial No. 16268. It is the smaller of two Lister engines in collection. It was made in 1924, Dursley, UK. The two engines in the collection are petrol engines from the 1920s predating the more numerous diesel engines manufactured from 1920 on.farm machinery, stationary engine, machine driven, belt driven

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

Following military service in the second world war, Clifton Pugh studied under artist Sir William Dargie at the National Gallery School in Melbourne as well as Justus Jorgensen, founder of Montsalvat. For a while he lived on the dole but also worked packing eggs for the Belot family saving sufficient to purchase six acres (2.4 ha) of land at Barreenong Road, Cottles Bridge. He accumulated more land and persuaded several other artists and friends to buy land nearby, resulting in a property of approximately 200 acres, stablishing it as one of the first artistic communes in Australia alongside Montsalvat in Eltham. It was around 1951 that Pugh felt he had '"done moochin' around" and so the name of the property evolved. He bought timber from Alistair Knox to build his house on the crest of a hill. Inspired by local goldminer's huts, it was a one room wattle-and-daub structure with dirt floor. Over the years it expanded with thick adobe walls made from local clay, high ceilings and stone floors. All materials other than the local earth were sourced from second hand materials, most found at wreckers' yards. Artists from across the nation were drawn to Dunmoochin, with several setting up houses and shacks on the property, maintaining their independence but sharing their artistic zeal. Artists who worked or resided at Dunmoochin included Mirka Mora, John Perceval, Albert Tucker, Fred Williams, Charles Blackman, Arthur Boyd and John Olsen. In 2002, Pugh's house along with its treasure trove of art and a library of some 20,000 books was destroyed by fire. Traces of Pugh's home remain with the presence of the Victorian doorframe archway with leadlight of intricate design, procured from a demolished Melbourne mansion; and two bronze life-sized female statues created by Pugh and cast by Matcham Skipper. In place of Pugh's house rose two double-storey mud-brick artists' studios topped with corrugated iron rooves curved like the wings of a bird with accommodation for seven. The original studios, gallery and other buildings survived the fire. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p155This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, art gallery, clifton pugh, dunmoochin, cottlesbridge, cottles bridge, barreenong road

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

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

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

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

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

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

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

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

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

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

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

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