Contents: • Well . . .things have been somewhat different by Jim Connor • More Thoughts about COVID Experiences o Wendy Wilson o Kitty Green o Rose Dumaresq • Some short comments about COVID experiences • Eltham Pool: Various Views o Gayle Blackwood o Frank Taylor o Ann Constable o Russell Yeoman • Vale – Max Dimmack 1922-2020 • It Has Been Some Coincidence by Jim Connor • Eltham Cemetery Stories by Richard Pinn o Alistair Samuel Knox o William Morris • Contacts for the Eltham District Historical SocietyThe Shire of Eltham Historical Society was formed in October 1967. The first newsletter of the Society was issued May 1978 and has been published continuously ever since on a bi-monthly basis. With the cessation of the Shire of Eltham in late 1994, the Society's name was revised to Eltham District Historical Society and this name first appeared with issue No. 103, July 1995. The collection of the Society's newsletters provides a valuable resource on the history of the Society's activities, office bearers and committee members, guest speakers and subjects of historical interest pertinent to the former Shire of Eltham and the Eltham District.A4 newsletter distributed to members (Digital and A4 photocopy)newsletter, eltham district historical society, covid-19, coronavirus pandemic

CEMA Art Collection Part of "A Community View" 150 years in Portland Screenprint Exhibition Part of Angela Gee residency 1983 and 1984Laminted screenprint with dark green background. Centre image is orange with four circular openings. Within these openings are industrial images.Front: 4/8 (lower left) "Helta Smelta" (centre) Wendy Black '83 (lower right) Back: 2

Exhibition in the Arts Company in 1999?Painting of three seagulls standing on a sandbar between river and ocean. Painted in bright colours, predominantly blues, green and orange. Framed under glass in wooden and gold-coloured frame.Front: (no inscriptions) Back: (no inscriptions)narrawong, painting, seagulls

9 Quarto pages hand written and then copied on buff coloured paper with coloured text and drawing on front cover. three staples along left side rusted. +Additional Keywords: Caughey, Wendy

Black and white photograph - Grade 4, 1950"Attached to photograph" Back Row- L to R: ?, Fred Bover, Peter Bangey, Stewart Howship, Bruce ?, David Lyle, John Allsop, Bob Bomford, Robert Hand, Ronald Young, Leslie McLean, Max Beaver, Geof Hager, Robert Sinclair, Jim Patterson. 2nd Row - L to R: Maureen Dyball, Jennifer Miller, Glenys Lee, Iris Allen, Joy Pease, Irene Parnell, Helen Wigley, Coral Skurrie, Rosalie Read, Janice White, Yvonne Cummings, Jenny Barton, Jeanette Haney, Kathleen Hardingham, Judy Young. 3rd Row - L to R: Pam Johnston, Rosemary Wiggins, Corinna Taylor, Judith Baker, Janice Pateman, Judith Woodworth, Margaret Bennett, Pam McGoldrick, Margaret Mitchell, Norma Springett, Fay Taylor, Heather Taylor, Valerie Martin, Wendy Caughey, Glenys Rackham. Front Row - L to R: Terry Green, Ralph ?, Graham Huxley, Ray Davidson, Colin Grant, Arthur Doyle, Ian Herd, George Jenkins. Teacher:

Black and white photograph "Attached to photograph" Back Row - L to R: Richard Fly, Graeme Reynolds, Colin Grieves, Pam Cleary, ?, Susan Broadly, Dean Barnes, Mikaly Kovendiachou, Peter Hayes. 2nd Row - L to R: Teacher Fred Rogers, ?, Tino Pekkarinen, Glen Pope, David Green, James Taylor, Eric Culmer, Bruce Fuller, Michael Brown, Michael Grayling, David ?. 3rd Row - L to R: Jennifer Walters, Elizabeth Harding, Elizabeth Doig, Susan Little, Sandra Mitchell, Janice Louttit, Jenny Smith, Annette Lighthouse, Linda Cook. Front Row: Bevalla Conner, ?, Julie Reid, Sandra Cook, Lynette Lightfoot, Wendy Thomas, Joy Hall, Roslyn Darian, Josie Trotter, Jenny Critchley.

Sketches of historic buildings from around AustraliaRecords notable Australian buildings358 pages. Illustrated with line sketches. Hard cover, green. Dust jacket contains sketch of old house near Toowoomba Qld on front and sketch of old jewellery shop in Charters Towers Qld on back cover.Name and address of owner on two pages (W. A. Partington/Alan Partington)historic buildings, heritage sites

Three finalist groups of Lorne Hospital Carnival Queen taken at the Lorne Theatre 1948.lorne hospital carnival queen 1948, nancy jones, doris jones, nancy short, ??? alsop, del inderberg, mabel rogers, lurline brown, margaret trickey, stephen ferrier, janice brown, reginald c jones, shirley green, shirley clissold, betty adamson, marjorie nelson, wendy mousley, berice swift, barbara hambling, madge roe, jill ireland, bill hambling

Books printed in the 1940s and 1950s.Laurie Russel worked for the SEC for 'yonks' in the field of electronics. He and his wife were interested in the arts and were involved in the introduction of the Mt Beauty Music Festival. N. V. Hansted was possibly an electrical engineer for the SEC. He met and married Wendy and retired in Mt Beauty. Wendy was matron of honour at the hospital. It was her second marriage.1. Green glass insulator open at one end 2. x2 Books - Instruction manual and Industrial Electronics 3. x2 Books - Phasmatid and Insect Plague & SEC Brown Power 4. x6 Books - TV Servicing & Radio builders 5. Book - Modern Radio & Home Recording - red and black cover2 books have "N.V. Hansted / 230 Patterson Rd. / Moorabbin written on front coversradio, tv, recording, insulator

Family History of the Cooper and Boehringer families commencing with John Franklin Cooper 1892-1982 and Gertrude Beatrice Wallace Robinson 1901 - 1991Social history of life in the Kiewa Valley during the 20th Century.Coloured cardboard cover with a photo of the halves of two people. The title is white on green across the bottom third.192 pages cooper family, boehringer family, farming in the kiewa valley

[article by Bettina Woodburn in EDHS Newsletter No. 105, November 1995:] EXPLORING THE UPPER YARRA - We enjoyed the Spring Excursion, this year "Exploring the Upper Yarra" - in spite of the constant rain and the countryside under the cloud cover, especially in the valleys, being mainly shiny shades of green. The occasional fields of buttercups, clumps of arum lilies and splendid rhododendron and other flowering bushes became very special. The Cobb and Co coach was warm and a cosy retreat as we zig-zagged on the highways and byways to glimpse the Yarra River, upstream and down, its secret places, and particularly the many bridges. Russell excelled as 'Poet Laureate', reading from Dacre Smyth's book. This 1979 publication includes paintings of all the bridges along the river with poems and brief descriptions of each one. Some of the bridges are in out-of-the-way places and are not very well known. We looked forward to hearing the poetry as much as seeing the 'constructions'… Big Pat (was he short or tall, lean or fat? - he did win the £200 reward for discovering gold and had the creek named after him), about the 'Eddies'?, and the disliked 'meccano' bridge in Warburton, etc. etc. The hot roast lunch in the old Reefton Hotel was also most welcome. It was easy to imagine it peopled by miners and early settlers. Starting by crossing the new (1974) concrete bridge at Warrandyte we headed through Wonga Park with views to the Christmas Hills and to the escarpment of the Yering Gorge, which causes flood waters to back up through the Yarra Glen plain, so avoiding disasters downstream. At the end of a long driveway we found the wooden, privately owned Henley Bridge (1935 after the 1934 floods). This facilitates access to different parts of Henley Farm and to Lilydale. Everard Park, named after Blanche Shallard's father, a State Member for 17 years, below the Highway Yarra crossing was in need of care. It is 10 miles from Yarra Glen by road but, as "Yarra Marra” canoeists well know, 32 winding miles down by water. After more delightful countryside scenes we joined the Warburton Highway at Woori Yallock. From the old Railway Station at Launching Place the Centennial Trail for walkers, cyclists and horse riders has replaced the rails. The line from Lilydale was opened in 1901, and the last diesel freight train ran to Warburton in 1965. It continued to rain as we had morning tea in Warburton in a shelter between footbridges. From here we continued upstream past the Bridge to O'Shannassy Lodge and Reservoir, Starvation Creek, and the Peninsular tunnel (miners dug it as at Pound Bend) which we visited (scrambling down those steps!) on our return after lunch. Our furthermost point was the Upper Yarra Dam Reserve (and vast catchment area). Finished in 1957 after ten years' work and 100 years after Yan Yean, it supplies much of Melbourne's water. After crossing the 30m Launching Place Bridge to the Eltham side of the Yarra and Healesville, we saw in the distance the Yarra Glen Timber Trestle Bridge over the river flats "the longest for years in the land it was said!" Harry's dream of "better weather over the Divide" unfortunately didn't come true, but I'm sure we 36 members will retain happy memories of a day that was wet and green and filled with Bridges. Situated on the Yarra River, 5.5 kms south of Christmas Hills on private property. This timber trestle bridge is said to have been built some time after 1907 by Melbourne master-builder, David Mitchell (the father of Dame Nellie Melba), to connect his two "Henley Farm" properties with Lilydale. In earlier days, when the McPhersons owned the property, their children used a punt to cross the river to attend Yering Primary School. This private bridge is best viewed from the end of Wendy Way. - Source: Christmas Hills Past and Present, Yarra Glen & District Historical Society, 2004.Two colour photographsactivities, henley bridge, upper yarra

Bendigo Sub-Branch R.S.S.A.I.L.A. Annual Victory Ball, Town Hall, Bendigo. Held on August 12th, 1947. Cream bifold card with gold printing and shaped edges. Inside is the Dance Program for 28 dances. On the back is the list of debutantes, Chaperone and Flower Girls. Debutantes are: Dorothy Herbert, Norma Knopp, Daphne Green, Eileen Simpson, Elvie Walker, Eileen Clarke, Olive Tope, Inez Somerville, Doris Purtell, Patricia Young, Judith Waters and Joy Taylor. Chaperone was Mrs. W. Evely and the Flower Girls were Wendy Brock and Evelyn Harris.event, social, victory ball, r.s.l. bendigo collection - souvenir programme annual ball 1947, dorothy herbert, norma knopp, daphne green, eileen simpson, elvie walker, eileen clarke, olive tope, inez somerville, doris purtell, patrica young, judith waters, joy taylor

Green laminated card with two photos. The first is Bill Thirwell and Bert Symons at the Centenary Celebrations 1973. The second photo is the Golden Square Primary School Inter-school softball premiers. They are, from left, front row: Lisa Hollis, Kerry Clayton, Jan McConville, Vicki Robson. Second row: Kayleen Baker, Sharon South, Judy Latwell, Susan McConville, Kerrie Pattison. Back row: Karen Hargreaves, Wendy Nixon, Rhonda hansen, Kerry Sutton, Suzanne Jones, Leanne Doyle and teacher, Mrs J Raeburn,education, primary, golden square laurel st p.s., golden square primary school 1189 collection - newspaper cuttings, bill thirlwell, bert symons, centenary celebrations 1973, lisa hollis, kery clayton, jan mcconville, vicki robson, kayleen baker, sharon south, judy latwell, susan mcconville, kerrie pattison, karen hargreaves, wendy nixon, rhonda hansen, kerry sutton, suzanne jones, leanne doyle, mrs j raeburn

Programme of the Bendigo Operatic Society. A Musical Play by Rodgers & Hammerstein ''Oklahoma'' Produced by Norman Lee. Capital theatre Bendigo Opening Friday 14th July 1961 for six Nights. Cast in Order of Appearance: Gertrude Perry as Aunt Eller - Harry Brewer as Curly - Dawn Beckwith as Laurey - Leonard Carr as Ike Skidmore - Peter Houston as Fred - Gerald Gleeson as Slim - Bryan Brewer as Will Parker - Brian Thomas as Jud Fry - Annette Wilson as Ado Annie Carnes - Alfred Annison as Ali Hakim - Wendy Griffiths as Gertie - Emily Westgarth as Ellen - Joan Crane as Viviene - Carol McKenzie as Faye - Ailleen Simmonds as Virginia - Patricia McCracken as Suzanne - Frederick Trewarne as Andrew Carnes - Reginald Boromeo as Cord Elam - Gerald Hayward as Ed - Victor White as Mike - Peter Haines as Jud (In Ballet) - Terry Carr as Curly (In Ballet) - Bronwen Townsend as Laurey (In Ballet). Musical Director: Max O'Loghlen. Society Pianist: Mrs. P.House. Ballet Mistress: Miss M.Welch. Synopsis: ''Oklahoma'' is a musical based on Lynn Rigg's play ''Green Grow the Lilacs''. The Story is set in Indian Territory just after the turn of the century and revolves around the lives of Curly, a cowboy, and Laurey. Laurey is in love with Curly, but to make him jealous pretends to be attracted to Jud fry. Everything is settled at the Annual Box Social.program, theatre, bendigo operatic society

Bendigo Operatic Society Production Oklahoma Capital Theatre Bendigo Opening Friday, 14th July, 1961 For Six Nights. Produced By Norman Lee. A Rodgers & Hammerstein Musical based on Lynn Rigg's play 'Green Grow the Lilacs.' A Chappell & Co. Ltd Production. Songs Include: 'Oh What a Beautiful Morning,' 'The Surrey with the Fringe on Top' 'Many A New Day' People Will Say We're in Love,Oklahoma. Cast: Gertrude Perry, Harry Brewer, Dawn Beckwith, Leonard Carr, Peter Houston, Gerald Gleeson, Bryan Brewer, Brian Thomas, Annette Wilson, Alfred Annison, Wendy Griffiths, Emily Westgarth, Joan Crane, Carol McKenzie, Aileen Simmonds, Patricia McCraken, Frederick Trewarne, Reginald Boromeo, Gerald Hayward, Victor White, Peter Haines, Terry Carr, Bronwen Townsend.Cambridge Press.clubs and associations, theatre, bendigo operatic society, https://en.wikipedia.org/wiki/oklahoma!_(1955_film)

Brown vinyl covered Australian Military Forces Soldier's Pay Book ( 48 pages with crest on front cover) issued to Neil Ernest Swainston on 21/04/1971, Cash Office 30, Paymaster Wendy A Sherwell. Details of payments made are written in pen.Inside front cover lists 'Instructions to Soldier'; back cover has pocket containing green-printed Paybook Variation Authority slips. Small ID photo of Private Swainston stapled to page 48.Hand-written in black marker pen:S16/ Army No. 3801127/ Swainston Neil Ernestpayments, national service - australia

About the 1992 Barcelona Olympic Games donator Doug Pleasance wrote- During the 1980s the Australian wool industry was at its most prosperous times with record numbers of sheep producing wool receiving ever increasing values due to the success of the Reserve Price Scheme, and the overall guidance of the Australian Wool Corporation (AWC). As a humble technichian, my role was a low profile newly created position of “Controller, Technical Marketing” where wool was to be marketed on its technical properties, as distinct from the “Product Marketing Group” which exploited trhe traditional high profile approach of marketing wool;s superior fashion attributes. The Woolmark was the tool central to this approach. The 1992 Barcelona Olympic Games saw an evolutionary change in designer selection. A Declaration of Interest Form was communicated to over forty potential designers. The task and especially tight timelines that were involved deterred many aspirants, however, there remained eight designers with the potential we were seeking. These eight designers were paid $3,000 per submission and the winning designer, Wendy Powitt, was paid $15,000. For the first time the judging panel included two athletes, one male swimmer and one female basketballer, their influence was pivotal. The ensemble consisted of three elements- 1. The Official Uniform which was used for travel and all official functions. This included: a tailored blazer and trouser/skirt (all water repellent) by Fletcher Jones, pure wool olive-green faille fabric by Foster Valley, cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, printed wool tie by TD Noone, wool nylon socks by Holeproof and footwear by Hush Puppy. 2. Opening Ceremony Uniform a lightweight wool fabric printed with floral designs that had been inspired by the work of Australian artist Margaret Preston. This included: Lightweight W/PE shorts by Fletcher Jones in Foster Valley Fabric, socks by Holeproof and footwear by Hush Puppy. 3. Village Clothing was designed to be highly visible garments to make it easy to ‘spot the Aussie’ and helped to contribute to good team spirit. This included: A pure wool shirt featuring blocks of contrasting colours, and a newly developed stretchGreen knee length skirt with button and zip back. Has two pockets, and two darts in both front and back.Label 1 - Barcelona 1992 Official Uniform supplied by Australian Wool Corporation Label 2 - Fletcher Jones Australia 141992 barcelona olympics, australian wool corporation, wool, olympic games official occasions

About the 1992 Barcelona Olympic Games donator Doug Pleasance wrote- During the 1980s the Australian wool industry was at its most prosperous times with record numbers of sheep producing wool receiving ever increasing values due to the success of the Reserve Price Scheme, and the overall guidance of the Australian Wool Corporation (AWC). As a humble technichian, my role was a low profile newly created position of “Controller, Technical Marketing” where wool was to be marketed on its technical properties, as distinct from the “Product Marketing Group” which exploited trhe traditional high profile approach of marketing wool;s superior fashion attributes. The Woolmark was the tool central to this approach. The 1992 Barcelona Olympic Games saw an evolutionary change in designer selection. A Declaration of Interest Form was communicated to over forty potential designers. The task and especially tight timelines that were involved deterred many aspirants, however, there remained eight designers with the potential we were seeking. These eight designers were paid $3,000 per submission and the winning designer, Wendy Powitt, was paid $15,000. For the first time the judging panel included two athletes, one male swimmer and one female basketballer, their influence was pivotal. The ensemble consisted of three elements- 1. The Official Uniform which was used for travel and all official functions. This included: a tailored blazer and trouser/skirt (all water repellent) by Fletcher Jones, pure wool olive-green faille fabric by Foster Valley, cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, printed wool tie by TD Noone, wool nylon socks by Holeproof and footwear by Hush Puppy. 2. Opening Ceremony Uniform a lightweight wool fabric printed with floral designs that had been inspired by the work of Australian artist Margaret Preston. This included: Lightweight W/PE shorts by Fletcher Jones in Foster Valley Fabric, socks by Holeproof and footwear by Hush Puppy. 3. Village Clothing was designed to be highly visible garments to make it easy to ‘spot the Aussie’ and helped to contribute to good team spirit. This included: A pure wool shirt featuring blocks of contrasting colours, and a newly developed stretch 50:50 wool/cotton fabric by Bradmill was made into shorts and jeans by Fletcher Jones.Yellow long sleeved shirt with detachable floral collar. Double breasted pockets.Label - Pelaco1992 barcelona olympics, australian wool corporation, wool

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

About the 1992 Barcelona Olympic Games donator Doug Pleasance wrote- During the 1980s the Australian wool industry was at its most prosperous times with record numbers of sheep producing wool receiving ever increasing values due to the success of the Reserve Price Scheme, and the overall guidance of the Australian Wool Corporation (AWC). As a humble technichian, my role was a low profile newly created position of “Controller, Technical Marketing” where wool was to be marketed on its technical properties, as distinct from the “Product Marketing Group” which exploited trhe traditional high profile approach of marketing wool;s superior fashion attributes. The Woolmark was the tool central to this approach. The 1992 Barcelona Olympic Games saw an evolutionary change in designer selection. A Declaration of Interest Form was communicated to over forty potential designers. The task and especially tight timelines that were involved deterred many aspirants, however, there remained eight designers with the potential we were seeking. These eight designers were paid $3,000 per submission and the winning designer, Wendy Powitt, was paid $15,000. For the first time the judging panel included two athletes, one male swimmer and one female basketballer, their influence was pivotal. The ensemble consisted of three elements- 1. The Official Uniform which was used for travel and all official functions. This included: a tailored blazer and trouser/skirt (all water repellent) by Fletcher Jones, pure wool olive-green faille fabric by Foster Valley, cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, printed wool tie by TD Noone, wool nylon socks by Holeproof and footwear by Hush Puppy. 2. Opening Ceremony Uniform a lightweight wool fabric printed with floral designs that had been inspired by the work of Australian artist Margaret Preston. This included: Lightweight W/PE shorts by Fletcher Jones in Foster Valley Fabric, socks by Holeproof and footwear by Hush Puppy. 3. Village Clothing was designed to be highly visible garments to make it easy to ‘spot the Aussie’ and helped to contribute to good team spirit. This included: A pure wool shirt featuring blocks of contrasting colours, and a newly developed stretch 50:50 wool/cotton fabric by Bradmill was made into shorts and jeans by Fletcher Jones.Yellow shirt, one pocket on left breast. The cuffs and the collar are white.On label - Barcelona 1992 Official Uniform supplied by Australian Wool Corporation1992 barcelona olympics, wool, australian wool corporation

About the 1992 Barcelona Olympic Games donator Doug Pleasance wrote- During the 1980s the Australian wool industry was at its most prosperous times with record numbers of sheep producing wool receiving ever increasing values due to the success of the Reserve Price Scheme, and the overall guidance of the Australian Wool Corporation (AWC). As a humble technichian, my role was a low profile newly created position of “Controller, Technical Marketing” where wool was to be marketed on its technical properties, as distinct from the “Product Marketing Group” which exploited trhe traditional high profile approach of marketing wool;s superior fashion attributes. The Woolmark was the tool central to this approach. The 1992 Barcelona Olympic Games saw an evolutionary change in designer selection. A Declaration of Interest Form was communicated to over forty potential designers. The task and especially tight timelines that were involved deterred many aspirants, however, there remained eight designers with the potential we were seeking. These eight designers were paid $3,000 per submission and the winning designer, Wendy Powitt, was paid $15,000. For the first time the judging panel included two athletes, one male swimmer and one female basketballer, their influence was pivotal. The ensemble consisted of three elements- 1. The Official Uniform which was used for travel and all official functions. This included: a tailored blazer and trouser/skirt (all water repellent) by Fletcher Jones, pure wool olive-green faille fabric by Foster Valley, cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, printed wool tie by TD Noone, wool nylon socks by Holeproof and footwear by Hush Puppy. 2. Opening Ceremony Uniform a lightweight wool fabric printed with floral designs that had been inspired by the work of Australian artist Margaret Preston. This included: Lightweight W/PE shorts by Fletcher Jones in Foster Valley Fabric, socks by Holeproof and footwear by Hush Puppy. 3. Village Clothing was designed to be highly visible garments to make it easy to ‘spot the Aussie’ and helped to contribute to good team spirit. This included: A pure wool shirt featuring blocks of contrasting colours, and a newly developed stretch 50:50 wool/cotton fabric by Bradmill was made into shorts and jeans by Fletcher Jones.Floral tie with cream, red, green native flower design.On label - Woven & manufactured in Australia by "Tee-Dee" exclusively for the Australian Wool Corporation1992 barcelona olympics, uniform, tie, australian wool corporation

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

6975-27 Stawell State School Grade 3, 11 April 1967 Teacher Mr Neumann Top Row, left to right, Ian McKellar, Reg Bach, Greg Yanner, Meredith Tangey, Karen Vendy, Joy Oliver, Jenny O'Neill, James Delley, Stephen Quarrell, Michelle Pyke. Second Row, Pamela Guy, Lyn Watson, Lynne Bonney, Karla Eldridge, Jilleen Jenkins, Elizabeth McCracken, Debra Bell, Kim Pickering, Robin Whelan, Third Row, Stuart McClure, Russell Jennings, Andrew Allam, Graham Deans, David Allam, Gordon Green, John Scott, Clinton Cathro, Paul Landon, Raymond Scott, Fourth Row, Jean Peters, Judith Jeffrey, Wendy Mason. Kristine Slorach, Suzanne Overall, Susan Prior, Deborah Giles, Julie Ross, Gayle Redford, Fifth Row, Rodney Young, Ian Longmore, Ronald Fry, Alan Marshall, Andrew Adamson, Jeffrey Clowes, David Hooper, Peter Delley, Stephen Taylor, teacher, Mr Neumann. Students and Teacher Grade 3 1967Stawell State School Grade 3 1967education