Showing 77 items
matching olive cotton
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Horsham Regional Art Gallery
Photograph, Olive COTTON, Teacup ballet, 1935
... Olive COTTON... grampians Photograph Teacup ballet Olive COTTON ...Purchased through the Horsham Art Gallery Trust Fund, 1996 -
Federation University Historical Collection
Book, Education Department Certificates 1908 - 1922
... Olive Cotton... Arthur Burge Olive Cotton Gertrude F Coxon Alice Culph Curtain ...School of Mines Ballarat was a predecessor of Federation UniversityBlack cloth covered book with handwritten pages and loose foolscap pages at the front and sticer on front cover with CERTIFICATES written on it.education department, school of mines ballarat, leslie bennett, eulali perry, hector osborne, doris mcdougall, mary mullins, john mclean, mary morrish, francis kelly, robert gullan, henry bull, clara clegg, john david, albert ferguson, ina westcott, vera walker, agnes walker, eileen tremain, florence smith, lizzie pier, annie reynolds, charles peverill, william pearson, doris patterson, rebecca mcphan, constance mchenry, jean mcgregor, florence mingst, gwen mann, roz kelly, edward jones, freddi jacobi, percy baker, doris carter, stephen chambers, ruth catt, arthur dousey, d'arcy, bessie doncaster, alan eggleston, lena featherstone, clarice fisher, sylvia williams, james walker, annie treloar, shearer, cora sandberg, elsie pearce, jan mcgregor, cyril mcgibbon, margaret moore, thomas kierce, william james, alice horan, lucy hamilton, beatrice blake, catherine bowers, mona callow, lillian cameron, joyce dopel, iva denovan, william thompson, irene hewitt, catheriine kardens, beatrice stuart, hugh ross, mavis regelhuth, isabelle bell, melba perriman, vera muny, alan bernaldo, kathleen conway, dorothy darling, walter dunston, mary dwyer, agnes fraser, enid gates, maude williams, violet wheeler, jean tunbridge, maud auberry, john b. allen, rose c. andrews, willie banagwanath, john n. bennett, alfred bayley, geo h. blake, ida bolte, allison brown, eva brown, harold r. brown, henry f. bull, arthur burge, olive cotton, gertrude f coxon, alice culph, curtain, r.l. cutter, florence davis, w.m davies, helen dempster, ed dopel, l.c.m. dovey, ernest duncan, hugh elliott, nelson h. ferguson, mary featherstone, amelia field, david cochrane, phyllis polson, frederick proctor, geoff richards, bessie robertson, catherine ronald, cora saudberg, mary sheppard, scott smith, leonard steele, j.b. suttcliffe, nellie thornhill, vernon fisher, gordon fletcher, elsie ford, constance furness, grace m. geddes, ada giacometti, mary gleeson, v. hall, harold herm, dorothy hambley, clemence hill, evelyn hodgson, annie holmes, glynis humphreys, augus henderson, joseph james, queenie johnson, harold jolly, francis n. king, william knott, mary kinnear, adelaide leash, doris lonie, a lilbourne, f.j. llewellyn, herb malui, muriel mathew, nellie moloney, mabel morris, ernest morshead, w.k. moss, winifred moyley, eileen mcinerney, jack mclean, chas mcnamara, maryanne medwell, alice osbourne, elsie pitts, percy trompf, basil tunbridge, david walker, ruby walton, annie whitla, kenneth whittle, walter wilberforce, alb e williams, masie wise, amy wolff, olive wunhym, beryl atkins, hector ashby, geo banagwanath, g.n.j. barker, marion r. bailey, kathleen bowe, lelia brough, cecil campbell, basil craddock, ida chapman, iris campbell, una campbell, eileen cleary, reg m.l. cuttter, lyle eves, violet elston, eric embling, violet evans, f.l. ellsworth, vera fisher, una fowles, colin graham, victor greenhalgh, clarence grose, dororthy hall, margaret hannaby, leslie henderson, harold herbert, effie holmes, herbert hopkins -
Women's Art Register
Women's Art Register Bulletin, Women's Art Register Bulletin No. 24 - October 1995
... Olive Cotton... pool Dianne Beevers Gabriella Hegyes Olive Cotton Bias Binding ...30 page bookletlyn pool, maggie mccormack, ewa narkiewicz, kate stones, deborah klein, lyn pool, dianne beevers, gabriella hegyes, olive cotton, bias binding, sally smart, susan morris, anne graham, brenda purtell, jan palethorpe, wendy rew, maggie mccormick, paula lindley, julie rosewarne foster, cowarr art space -
Women's Art Register
Book, Barbara Hall and Jenni Mather, Australian Women Photographers 1840 - 1960, 1986
... Olive Cotton... Society of Women Painters and Sculptors Olive Cotton Ruth Hollick ...Arising from research for an exhibition of the same name, which toured Australia 1981- 1982 the book covers the work of 45 amateur and professional photographers and their lives as innovators and travellers. Many of the works come from private collections and have not been previously published.Booknon-fictionArising from research for an exhibition of the same name, which toured Australia 1981- 1982 the book covers the work of 45 amateur and professional photographers and their lives as innovators and travellers. Many of the works come from private collections and have not been previously published.self portraiture, self-portraiture, pictorialism, home magazine, studio photography, melbourne society of women painters and sculptors, olive cotton, ruth hollick -
Women's Art Register
Book, Helen Ennis, Photography and Australia, 2007
... Olive Cotton... Tracey Moffat Brook Andrew Destiny Deacon Rosemary Laing Olive ...Visual and written documentation on photography in Australia and its importance.non-fictionVisual and written documentation on photography in Australia and its importance.racial, political, social, brenda l. croft, leah king-smith, tracey moffat, brook andrew, destiny deacon, rosemary laing, olive cotton, margaret michaelis, ruth maddison, carol jerrems, fiona hall, patricia piccinni, jacky redgate, anne zahalka, pat brassington, anne ferran -
National Vietnam Veterans Museum (NVVM)
Headwear, Bush Hat
... Olive green coloured cotton bush hat... Giggle hat Clothing Olive green coloured cotton bush hat Bush Hat ...The Australian Giggle Hat was made from jungle green cotton twill and featured a headband for inserting natural camouflage. Early versions were of British manufacture and had large screened air holes. However, from 1968 the Giggle hat was produced in Australia and featured smaller un-screened air holes.Olive green coloured cotton bush hatbush hat, giggle hat, clothing -
Tatura Irrigation & Wartime Camps Museum
Accessory - Handbag, 1940's
... Bone coloured macrame handbag, lined with olive green..., lined with olive green cotton material. Diamond knobbly pattern ...Used by internee at Camp 3Bone coloured macrame handbag, lined with olive green cotton material. Diamond knobbly pattern 2 handleshandbag, hoefer family, camp 3, tatura, ww2, costume, accessory, female, handcrafts, macrame -
National Vietnam Veterans Museum (NVVM)
Uniform, Flying suit
... Olive green, cotton drill suit. Velcro at waist, chest... Olive green, cotton drill suit. Velcro at waist, chest pocket ...Olive green, cotton drill suit. Velcro at waist, chest pocket zips. Various pockets on legs and sleeves.Bruce C. starkey 1736666flying suit, dustoff -
National Vietnam Veterans Museum (NVVM)
Uniform - Uniform, Army, Jacket
... An olive green cotton wind resistant poplin jacket made.... 8405-082-5568 An olive green cotton wind resistant poplin ...An olive green cotton wind resistant poplin jacket made longer that normal in order that load carrying equipment does not cover pocketsDSA-100-4491. 8405-082-5568jacket, clothing, mcphail collection -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Domestic object - Kitchen Equipment, cutlery
... teaspoons, 1 butter-knife and 1 sugar- tongs in an olive coloured...- tongs in an olive coloured cotton-sateen lined, embossed-paper ...Electro Plated Silver cutlery. Part-set comprising of 2 teaspoons, 1 butter-knife and 1 sugar- tongs in an olive coloured cotton-sateen lined, embossed-paper covered box.EPNSkitchen equipment, cutlery, silverplate, early settlers, pioneers, moorabbin, bentleigh, cheltenham, market gardeners -
Montmorency/Eltham RSL Sub Branch
Cap, US Army, Cold Weather, Korean War, 1959
... Olive Drab cotton and wool peaked Field Cap with imitation..., Korean War Olive Drab cotton and wool peaked Field Cap ...Typical US Army cold weather cap used in Korean War and post-Korea eraRepresentative US Army cap. This type of clothing was issued to Australian troops during the Korean War Olive Drab cotton and wool peaked Field Cap with imitation alpaca fold-down ear comforters, ends secured by cord. Cotton identification label sewn to liner. Wear instructions cotton label sewn to liner. CAP, FIELD, PILE, O.D., MQ-1 Size 7 ATLANTIC HIGHLANDS MFG. CO. Dated 13 Jan. 1951 Q.M. 9532-OI-10070 Pur.Desc. 1 Nov. 1950 Stock No. 73-C-16376-45 NYQMPA ALPACA 60% WOOL, 40% COTTON LINING 80% WOOL, 20% COTTON plus - wearing instructions "CAP, FIELD,PILE,OD, M-Q1" (sic) -
Beechworth RSL Sub-Branch
Insignia Rank Corporal
... ; positioned one above the other. on a olive drab polyester cotton... embroided in gold cotton; positioned one above the other. on a olive ...The insignia has two chevrons embroided in gold cotton; positioned one above the other. on a olive drab polyester cotton with an embroidered edgechevron, chevron corporal -
Beechworth RSL Sub-Branch
Uniform - Insignia Rank Corporal
... ; positioned one above the other. on a olive drab polyester cotton.... on a olive drab polyester cotton with an embroidered edge chevron ...The insignia has two chevrons embroided in gold cotton; positioned one above the other. on a olive drab polyester cotton with an embroidered edgechevron, chevron corporal -
National Vietnam Veterans Museum (NVVM)
Uniform - Scrim, sweat rag
... Olive green loose weave, cotton scarf. Material open square... sweat rag uniform Vietnam Olive green loose weave, cotton scarf ...Standard issue cotton scrim/ scarf was used by soldiers in Vietnam. Colloquially known as a sweat rag.Olive green loose weave, cotton scarf. Material open square pattern uniform throughout with border in tighter knit on both sides of scarf.scarf, soldier, cotton, sweat rag, uniform, vietnam -
Bendigo Military Museum
Headwear - HELMET, STEEL - BRITISH PATTERN, c. WW2
... with olive green cotton cord. A bolt head is prominent on the crown... steel helmet, dark olive in colour. Outside of the helmet ...British pattern steel army helmet as used in both WW1 and WW2. This example dates from the WW2 era.British pattern steel helmet, dark olive in colour. Outside of the helmet is covered in dark olive green mesh which is secured with olive green cotton cord. A bolt head is prominent on the crown of the helmet and corresponds to a nut and thread on the inside. This nut and bolt secures a black rubber pad. A sweat band in black synthetic material is secured to the inside rim of the helmet. An adjustable webbing chin strap with brass buckle is attached with clips to each side.Niluniform - army, costume - male, protective headgear -
Montmorency/Eltham RSL Sub Branch
Headwear - Forage Cap, German, Post-war, 1968
... Olive drab woolen forage or side cap with cotton liner... Headwear Olive drab woolen forage or side cap with cotton liner ...Standard West German Army uniform item for that period.Olive drab woolen forage or side cap with cotton liner. Olive diamond-shaped backing with yellow, red, black embroidered rosette cap badge. Manufacturer's off-white label sewn to lining. Label - red ink stamp 'BAMBERGER MUTZEN INDUSTRIE' black ink stamp 'U5 I 2d/11/15644/0048/8, VII/1968, 56, 8405-12-138-8899' Label over-stamped with large 'A'headgear -
Woodend RSL
Hat, 1963
... Olive drab woollen forage or side cap with cotton liner... forage or side cap with cotton liner. Olive diamond-shaped ...Standard West German uniform item for the periodOlive drab woollen forage or side cap with cotton liner. Olive diamond-shaped backing with yellow,red,black embroidered rosette cap badge. Manufacturer’s off-white label sewn to lining.Label inside cap - BAMBERGER MUTZEN-INDUSTRIE (red lettering). US12d/01/07897/001/3 VII/63 _15.12.63 55 8405-12-137-6563forage, german, cap, bamberger mutzen industrie -
Bendigo Historical Society Inc.
Clothing - MAGGIE BARBER COLLECTION: OLIVE GREEN LEATHER TRIMMED GLOVES, 1920-1930'S
... Clothing. Dark olive green fabric,(possibly cotton... Clothing. Dark olive green fabric,(possibly cotton) with a sueded ...Clothing. Dark olive green fabric,(possibly cotton) with a sueded feel, bracelet length gloves. In between the fingers (on the side of the fingers)the gloves have panels of dark olive kid leather. At the top of the glove, on the outer side, the fabric is pleated, to give a rounded effect. A flat bow 6 cms from side to side, trims the curve. The bow is made of the dark olive coloured leather.costume accessories, female, olive green leather trimmed gloves -
Woodend RSL
Webbing Anklet (Gaiter), 1953
... on with black thread. Inside of anklet: lower third has a cotton, olive... on with black thread. Inside of anklet: lower third has a cotton, olive ...This anklet dates to 1953 and may be associated with the Korean War (1950-1953). This anklet web is an example of Australian military uniform dating back to the mid twentieth century. Olive drab woven webbing anklet. The anklet is made of a rectangular strip of fabric which is straight along one edge and curved to fit an ankle along the other side. Outside of anklet: two buckles are stitched on with straps of woven cloth, one placed near the top of the anklet, one near the base. The opposite end of the anklet has two black leather straps which may be attached to buckles when worn. Leather straps are stitched on with black thread. Inside of anklet: lower third has a cotton, olive drab lining. Two leather attachments are stitched in along the edge of anklet to reinforce the curved seam.J.1953 VOG. 4024 S.2 Australian military marking of D (arrow) D. L (arrow) 18 anklet, web, military, army, way, fashion, outfit, uniform, gaiter. -
Southern Sherbrooke Historical Society Inc.
Textile - Helen Gibson collection - material, cottons, etc
... navy and 1 light olive. -1 Brooks Machine Cotton- Steel Blue... navy and 1 light olive. -1 Brooks Machine Cotton- Steel Blue ... -
Geelong RSL Sub Branch
Machete, There are no makers names, Mid 20th Century
These machete's were issued to military personnel posted in jungle like conditions.The machete would have been used by military personnel during WW2 and during the 1950s.Steel blade machete with wooden double sided handle. The handle is attached to the wood with four steel rods. There is an olive green scabbard made of cotton material oil impregnated. The scabbard has a pocket on the front to hold a sharpening stone and has steel on the top opening to keep the opening firm, there is a steel catch for attachment to webbing and a cloth loop with press stud to hold the handle of the machete in place when in the scabbard. There is a cotton fabric loop through the handle.On the handle of the machete MA67. The item number on the scabbard is not readable.army, military, machete. -
Federation University Historical Collection
Certificate, Education Department, Victoria, Victorian Education Department Certificates, 1916-1928
Ballarat Technical Art School was a division of the Ballarat School of Mines.373 certificates in 2 boxes. Most appear to be related to subjects undertaken at the Ballarat Technical Art School. Director of education stamped signature Frank Tate.Stamped Ballarat School of Mines No.10 Stamped signature "Frank Tate"ann duke, plain needlework, victor greenhalgh, frank tate, ballarat technical art school, arnold j. allen, florence allen, m.a. ansen, dressmaking, modelling human figure from cast, ruby e. allison, drawing fro memory, nancy b. angwin, maude arberry, douglas w. arch, muriel j. arch, eileen bailey, annie c. baker, percy j. baker, general design, light metal work, bessie m. barbery, commerical arithmetic, decorative needlework, bert bernaldo, drawing from a flat example, lorna m. mccallum, brush drawing, stanley g.a. barnett, millinery, mavis g. beacham, theodore k. beckwith, isabel j. bell, kelva e. bellingham, leslie bennett, olive van berkel, elizabeth e. berry, beatrice m. blake, thomas g. blake, catherine m. bowers, nancy w. bowe, clarice v. branagh, harold r. brown, architecture, modelling the head from life, henry bull, light metalwork, ivan d. brown, thyra j. brown, henry j. bull, leila m. burford, embossed leathwork, lettering, drawing fro dressmakers, irene m. burke, josephine m. callery, modelling, mona r. callow, herbert cameron, lillias cameron, william e. carlyon, doris l. carter, ruth e. catt, hiram e. chamberlain, stephen chambers, jack d. chand, jack d. chard, clara v. clegg, beryl e. coad, john c. collins, keith m. collins, robert g. collins, kathleen m. conway, athol b. cornish, ballantyne cottier, douglas s. cotton, lilith s. christmas, perspective, doreen coughlan, ivy g. crompton, phyllis culliver, joan m. cuthbertson, alan r. cutter, john l. daniel, arthur dansey, katherine d'arcy, dorothy f. darling, myrtle f. darling, reginal a. davey, gwladys h. davies, annie dellaca, henry a. deller, ivy f. denovan, joyce doepel, bessie donacaster, charles o. dowie, horace b. dowsing, walter dunstan, mary dwyer, allan r. egglestone, melville g. ellingsen, hugh o. elliott, beryl r. ellis, cecil f. engish, allan e. evans, matson l. eves, olive j. fairlie, robert j. falla, mavis felstead, lena featherston, albert c. ferguson, alma ferguson, hilda m. ferguson, john f. ferguson, beatrice m. field, clarice f. fisher, philip h. fleischer, building construction, olive p. francis, agnes fraser, essie gale, gilbert foster, pearle fricke, effie gascoigne, enid m. gates, clarice gear, james a. geary, sylvia f. greenhalgh, evelyn f. geddes, thomas j. gibson, wavie b. gilbert, edna m. gilmer, nancy govan, eula h. gower, doris e. gray, lesley j. gower, henry n. graham, victor e. greenhalgh, melva e. gribble, human anatomy, roy k. griggs, jack gullan, robert gullan, alma m. gunn, dorothy j. hallan, lucy hamilton, james hammer, dorothy e. hamond, christopher j. hanlon, catherin hardess, lily haymes, gladys hedges, irene h. hewitt, john hill, victor j. hill, olive hillings, john a. hobill, frances k. holmes, gertrude m. hopkins, alice horan, marjorie hudson, linda m. hughes, lydia hughes, winifred humphreys, commercial english, agnes a. humphries, colin hunt, kathleen hutchinson, francis n. king, jean king, hilda knox, john kopke, isabel a. kopke, hazel jackson, freda jacobi, agnes james, william r. james, alexander johnson, edward j. jones, eleanor w.h. jones, nellie kau, thomas kean, francis kelly, roy k. kelly, thomas g. kierce, theo e. leonard, esther f. leviston, bessie lockett, norman h. long, ena mackay, gwenda e. mann, robert v. maddison, herbert w. malin, dorothy m. marriott, john c. mcarthur, james p. mcculloch, doris mcdougall, cyril mcgibbony, thelma mcgibbony, jean mcgregor, kenneth mciver, constance m. mckenzie, elsie j. mckissock, alexander k.mcleod, grace b. mclean, john f.w. mclean, rebecca mcphan, vera meeny, edna merritt, dougald miller, florence h. mingst, agnes m. monteith, doreen j. montgomery, jean e. montgomery, robert w.p. montgomery, margaret b. moore, harry e. morrish, james mow, gwendoline r. neagle, gerald r. newson, robert j. nicol, helen f. nicholl, george m. norton, edward s. oliver, mavis e. oliver, hector h, osborne, henry parker, norma e. parr, doris m. patterson, elsie pearce, celia pearlman, leslie pearlman, edna pearson, william j. perriman, eulalie perry, ernest b. pinney, charles e. peverill, clarence r. pittock, raymond b. pitts, phyllis polson, cynthia b. power, bessie puzey, john m. punshon, evelyn a.v. ramsay, robert i ramsay, william a. rattray, drawing for builders and artisans, george h. reed, fred reeves, mavis i. regelhuth, george r. renkin, annie e. reynolds, lizzie rice, eileen l. richards, henry c. riegelhuth, gladys m. riley, charles a. rimmington, amy robson, ernest w. robson, florence a. rogers, dorothy rppney, kathleen rooney, hugh n. ross, stella m. rowe, agnes w. ryan, rosaling e. sage, cora sandberg, eric c. sanders, douglas f. scott, sylvia e. selkirk, dorine a. shearer, gladys sheldon, emily e. simper, veri slattery, florence c. smith, hilda m. spencer, rose spiers, mopna g. spiller, alma m. stapleton, joyce w. stark, marcus m. stone, commercial correspondence, beatrice m. stuart, ena v. sullivan, margaret a. sydes, rita tainsh, norman b. tamlyn, arthur w. thane, alma m. thomas, david e. thomas, william h. thompson, william m. thomas, edgatr j.t. tippett, sidnet tippett, gladys tongway, mavis toop, hugh d. trainor, annie e. treloar, john h. treloar, eilleen trumain, linda f. treewk, percival a. trompf, percy trompf, jean tunbridge, ruth e. tunbridge, allan j. twaits, irene m. utting, elizabeth van beek, william a. wade, agnes a. walker, james a. walker, vera v. aller, john walsh, marjorie walters, rex warrillow, edith watson, bernice e. webb, constance i weeks, ina m. westcott, pearl whan, violet wheeler, myrtle d. whitfield, annie whitl, richard l. whitla, charles f. whitla, grace a. wilcock, murray a. wilkie, andrew w. william, arthur williams, baden p. williams, david d. williams, grace f. williams, maude h. williams, mavis m. williams, james williamson, ivy wilson, hector g wilson, frederick w.r. wilson, david s. wood -
Lara RSL Sub Branch
Hat, Yellow United Nations Peace Monitoring Group Bougainville, 1996 (estimated)
Used by Peace Keeping Forces in Bougainville, Papua New Guinea in the 90'sYellow United Nations floppy hat with United Nations Peace Monitoring Group Badge on front of hat. The Peace Monitoring Group badge has PEACE in black above the badge and Peace Monitoring Group in black beneath. The badge has a white dove on a blue background with black olive branch. Underneath dove is map of Papua New Guinea. Hat is circular and can be squashed up to fit in baggage. Made in China of cotton material.Has Peace Monitoring Group badge on front. Badge has black writing with white dove on blue sky with green olive branchhat, military, army, royal australian army, australian army, royal australian regiment, rar, united nations, un, cotton, made in china, bougainville, papua new guinea, yellow -
Bendigo Military Museum
Accessory - UNIFORM
Peace Monitor's uniform from Bougainville island Papua New Guinea. .1) T-Shirt. Yellow cotton, blue circular disc on L front with image of a white dove carrying a black olive leaf, superimposed on a green island. .2) Drill shorts, Pair, khaki cotton, front zip fastening with buttons at waist band & buckled tabs for size adjustment. Large woven label with maker's instructions. .3) Sun hat. Yellow polyester cotton with cord chin strap & plastic toggle to tighten. Peace Monitoring green logo on front..1) Handwritten on front, on label inside size & washing instructions & label at back neck in texta: WO2 PAYNE ASM .2) Inside waist band in texta: WO2 PAYNE ASMuniform - army, peace keeping force, bouganville, monitoring group -
Frankston RSL Sub Branch
Helmet, Australian M1, circa 1960's
Standard issue United States M1 pattern steel helmet, olive drab in colou, stretch cotton cargo type net, with fibreglass liner. On the inside of a strap in the liner '8415-153-6671' is printed in black ink. This number would appear to be the "Federal Stock Number (FSN)" which was used 1949 to 1975 when ti was replaced by "National Stock Number (NSN)' by additional of 00 after the first 4 numbers. this would indicate that it was made in USA. The chin strap and liner are both complete and fully operable. These helmets were first issued in 1941 to the United States Armed Forces. They were adopted after the Korean War by the Australian Defence Force. In the 1990s they were replaced by the Kevlar based Personnel Armour System-Ground Troop (PASGT) type helmet. However, as evidenced by this helmet, some M1 Steel helmets were not replaced in-service by the PASGT helmet and survived into the early 21st Century. Used by Royal Australian Army in Vietnam in areas where mines were significnat, such as Long Hai's mountains (together with US flak jackets), and also by Royal Australain Navy.An example of an Australian Army issue M1 steel battle helmet complete with fibreglass liner. This helmet type was issued to Australian defence personnel during the Vietnam conflict. The inner line has a transfer on the front " Australian Military Forces" with rising sun badge. The steel outer has an olive green elastic cover (similiar to cargo net) to hold camouflage material. The M1 is two "one-size-fits-all" helmets: an outer shell made of metal and a hard hat-type liner that is nestled inside the shell and contains the suspension system that would be adjusted to fit the wearer's head. Helmet covers and netting would be applied by covering the steel shell with the extra material tucked inside the shell and secured by inserting the liner. The helmet is 7 inches in height, width is 9.5 inches and length is 11 inches. The weight of a World War II era M1 is approximately 2.85 pounds including the liner and chinstrap. (From Wikipepedia) the inner line has a transfer on the front " Australian Military Forces" with rising sun badge.steel helmet -
Warrnambool and District Historical Society Inc.
Jockey Silk Cap, Mid 20th century
This cap was probably used during horse training rather than in competition racing. The owner, D. Bartlett, has not been identified but the family of Olive Bartlett, the donor, was involved in the horse-racing industry and it is presumed that the owner was a family member. This cap is retained for display purposes. Horse racing events , especially the May Racing Carnival, are important in Warrnambool. This is a cotton cap with a soft crown in black and red colours divided into six segments. There is a black button on top of the crown. The peak is covered with stiffened black material with a black bow. Inside the cap there is an orange-coloured rayon lining and the name of the owner.‘D. Bartlett’horse racing in warrnambool, history of warrnambool -
National Wool Museum
Work on paper - Women's Official Occasions Uniform Design Drawings, Wendy Powitt, c. 1992
A set of laminated A3 sketchbook pages depicting designs for the 1992 Barcelona Olympic Women's Official Occasions Uniform designed by Wendy Powitt. On the 1992 Barcelona Olympic Games donor Doug Pleasance wrote- 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 Official Uniform was used for both travel and official functions. This included a tailored blazer and trouser/skirt set (all water repellent) by Fletcher Jones in pure olive green faille fabric by Foster Valley, a cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, a printed wool tie by TD Noone, wool nylon socks by Holeproof and footwear by Hush Puppy.8116.1 - A laminated A3 sketchbook page depicting a design for the 1992 Barcelona Olympic Women's Official Occasions Uniform. The main drawing shows the design for a green skirt and green woollen vest over a yellow button up shirt with printed neck tie. Three smaller drawings on the left side of the page show the details of the vest, necktie and shirt. 8116.2 - A laminated A3 sketchbook page depicting a design for the 1992 Barcelona Olympic Women's Official Occasions Uniform. The main drawing shows the design for a black skirt and printed scoop neck, button up blouse, cinched at the waist with a black belt. Around the central drawing are smaller drawings showing the details of the skirt, belt and shoes. 8116.3 - A laminated A3 sketchbook page depicting a design for the 1992 Barcelona Olympic Women's Official Occasions Uniform. The main drawing shows the design for a black skirt and black blazer with detailed striping across the right front and right arm. There is a small detailed drawing of the blazer to the right of the main figure which includes the design of a scarf. 8116.4 - A laminated A3 sketchbook page depicting a design for the 1992 Barcelona Olympic Women's Official Occasions Uniform. The main drawing shows the design for a green skirt, a yellow printed, sleeveless shirt, yellow gloves, along with a matching headband and scarf.1992 barcelona olympics, sport, athletes, fashion, design, artwork, drawing, uniform -
National Wool Museum
Work on paper - Men's Official Occasions Uniform Design Drawings, Wendy Powitt, c. 1992
A set of laminated A3 sketchbook pages depicting designs for the 1992 Barcelona Olympic Men's Official Occasions Uniform designed by Wendy Powitt. On the 1992 Barcelona Olympic Games donor Doug Pleasance wrote- 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 Official Uniform was used for both travel and official functions. This included a tailored blazer and trouser/skirt set (all water repellent) by Fletcher Jones in pure olive green faille fabric by Foster Valley, a cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, a printed wool tie by TD Noone, wool nylon socks by Holeproof and footwear by Hush Puppy.8117 .1 - A laminated A3 sketchbook page depicting a design for the 1992 Barcelona Olympic Men's Official Occasions Uniform. The main drawing shows the design for black suit pants and blazer, a yellow shirt with a white collar and a floral printed tie. Two detail drawings appear at the top of the page depicting the Australian emblem in detail as well as the suit jacket and shirt. 8117.2 - A laminated A3 sketchbook page depicting a design for the 1992 Barcelona Olympic Men's Official Occasions Uniform. The main drawing shows the design for a pair of black trousers, a yellow button up shirt with a white collar and cuffs and a floral printed tie. Around the main image are three smaller drawings depicting the detail of the trousers, belt clasp and black shoes. 8117.3 - A laminated A3 sketchbook page depicting a design for the 1992 Barcelona Olympic Men's Official Occasions Uniform. The main drawing shows the design for a pair of trousers, a green knit, button up vest, a yellow shirt with a white collar and cuffs and a floral printed tie. On this design there is also a small swatch of yellow fabric attached as well as a small detail drawing of the knit vest behind the right shoulder of the man depicted. 8117.4 - A laminated A3 sketchbook page depicting a design for the 1992 Barcelona Olympic Men's Official Occasions Uniform. The main drawing shows the design for a pair of trousers, a yellow button up shirt and a printed striped tie. 8117.5 - unnumbered - A laminated A3 sketchbook page depicting a design for the 1992 Barcelona Olympic Men's Official Occassions Uniform. The main drawing shows the design for black suit pants and blazer, a yellow shirt with a white collar and a floral printed tie. Two detail drawings appear at the top of the page depicting the Australian Emblem set on top of stripes in detail as well as the suit jacket and shirt. 8117.6 - A laminated A3 sketchbook page depicting a design for the 1992 Barcelona Olympic Men's Official Occassions Uniform. The main drawing shows the design for black shorts and floral button up shirt, belt, lace up shoes with socks and pocket detail.1992 barcelona olympics, sport, athletes, fashion, design, artwork, drawing, uniform -
National Wool Museum
Work on paper - Officials' Uniform Design Drawings, Wendy Powitt, c. 1992
A set of laminated A3 sketchbook pages depicting designs for the 1992 Barcelona Olympic Women's Opening/Closing Ceremony Uniform designed by Wendy Powitt. On the 1992 Barcelona Olympic Games donor Doug Pleasance wrote- 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 Official Uniform was used for both travel and official functions. This included a tailored blazer and trouser/skirt set (all water repellent) by Fletcher Jones in pure olive green faille fabric by Foster Valley, a cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, a printed wool tie by TD Noone, wool nylon socks by Holeproof and footwear by Hush Puppy.8122.1 - A laminated A3 sketchbook page depicting a design for the Men's 1992 Barcelona Olympics Australian Official's Uniform. The main drawing shows the design for blue suit pants and blazer with six gold buttons, a yellow shirt and a red, green, yellow and cream striped tie. To the left of the main image are four smaller detail drawings of the belt buckle, gold bottons, blazer and shoes. 8122.2 - A laminated A3 sketchbook page depicting a design for the Women's 1992 Barcelona Olympics Australian Official's Uniform. The main drawing shows the design for a blue elbow length, square necked blazer with gold buttons on both the front of the jacket and sleeves paired with a blue pencil skirt and a red, green, yellow and cream shirt. To the right of the main drawing are four smaller detail drawings showing the pattern for a scarf, the striped shirt, the blazer and the shoes. 1992 barcelona olympics, sport, athletes, fashion, design, artwork, drawing, uniform -
National Wool Museum
Uniform - 1992 Barcelona Olympic Games Women's Official Occasions Floral Print Gilet Shirt, Wendy Powitt, c. 1992
About the 1992 Barcelona Olympic Games donor Doug Pleasance wrote- During the 1980s the Australian wool industry was at its most prosperous times with record numbers of sheep producing wool receiving ever increasing values due to the success of the Reserve Price Scheme, and the overall guidance of the Australian Wool Corporation (AWC). As a humble technician, my role was a low profile newly created position of Controller, Technical Marketing, where wool was to be marketed on its technical properties, as distinct from the Product Marketing Group which exploited the traditional high profile approach of marketing wool's superior fashion attributes. The Woolmark was the tool central to this approach. The 1992 Barcelona Olympic Games saw an evolutionary change in designer selection. A Declaration of Interest Form was communicated to over forty potential designers. The task and especially tight timelines that were involved deterred many aspirants, however, there remained eight designers with the potential we were seeking. These eight designers were paid $3,000 per submission and the winning designer, Wendy Powitt, was paid $15,000. For the first time the judging panel included two athletes, one male swimmer and one female basketballer, their influence was pivotal. The ensemble consisted of three elements- 1. The Official Uniform which was used for travel and all official functions. This included: a tailored blazer and trouser/skirt (all water repellent) by Fletcher Jones, pure wool olive-green faille fabric by Foster Valley, cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, printed wool tie by TD Noone, wool nylon socks by Holeproof and footwear by Hush Puppy. 2. Opening Ceremony Uniform a lightweight wool fabric printed with floral designs that had been inspired by the work of Australian artist Margaret Preston. This included: Lightweight W/PE shorts by Fletcher Jones in Foster Valley Fabric, socks by Holeproof and footwear by Hush Puppy. 3. Village Clothing was designed to be highly visible garments to make it easy to spot the Aussie and helped to contribute to good team spirit. This included: A pure wool shirt featuring blocks of contrasting colours, and a newly developed stretch 50:50 wool/cotton fabric by Bradmill was made into shorts and jeans by Fletcher Jones.The shirt is sleeveless and in majority cream coloured. Around the hem, buttons and across the front of the shoulders is an appliqued floral design of Australian flowers and leaves inspired by the designs of artist Margaret Preston. The appliqued pattern continues around the bottom hem but not over the shoulders of the shirt.1992 barcelona olympics, sport, athletes, fashion, design, artwork, drawing, uniform