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Adopt an Artefact
Aurora Historical Society
AURORA HISTORICAL SOCIETY
A MESSAGE FROM AHS
We are excited to offer you this unique opportunity to support Hillary House National Historic
Site. Your generous support will help fund conservation and exhibition efforts of these important
artefacts and raise the provincial profile of the museum. The Adopt An Artefact program is your
chance to create a personal relationship with the families who lived in the house and become part
of its history. Whether adopting for yourself, your class, club or as a special gift, adopting a Hillary
House artefact will help us tell its story for generations to come.
Thank you for your generous support,
Patricia Wallace
Fundraising Chair
AHS Curatorial Staff and Volunteers are delighted to see this initiative come to fruition! The
artefacts and archival material were carefully selected to represent themes such as medical
practices, leisure pursuits and culinary arts that can be experienced throughout the house. They
represent a snap shot of Hillary House – the history behind the families who lived here, their
professional lives and the stories that the building and grounds tell. By adopting an artefact you
play an integral part in the preservation of the Hillary House Collection and AHS Curatorial Staff and
volunteers look forward to working with the community in this effort!
If there is that special artefact that you have a connection with and it is not contained in this
catalogue, please contact us as we are always welcome to exploring alternative items for adoption.
Sincerely Yours in Stewardship and Preservation,
Catherine Richards
Manager/Curator
ADOPT AN ARTEFACT 2012
MISSION Our mission is to preserve, interpret and promote the social, cultural and material
heritage of the community of Aurora for the education, enrichment and enjoyment
of present and future generations.
VISION Our vision is for the citizens of Aurora to recognize the value the Aurora Collection
and Hillary House National Historic Site as essential components of the Town of
Aurora’s heritage which is accessible today and preserved for future generations.
These AHS efforts and
activities are
conducted in public
trust and completed
for the benefit of
Aurorans and visitors
to the area.
WHAT IS THE ADOPT AN ARTEFACT PROGRAM?
A unique fundraising initiative of the Aurora Historical Society (AHS), the Adopt an Artefact program
allows supporters of Aurora’s historic roots to make a piece of history their own for a one year term.
A wide variety of carefully selected artefacts from the Hillary House collection are now available for
adoption.
Tax-deductable adoption fees begin at $150. Adoptors will receive a package including an Adoption
Certificate and a photo of their artefact to display in their home, classroom, office or business. They
may have their name alongside their displayed artefact in the museum or select one of several
other recognition options.
Adopt an Artefact forms part of a major fundraising campaign currently underway at AHS. All
contributions support the restoration and preservation efforts as well as the ongoing creation of
new exhibits, programming and community outreach.
Aurora Historical Society President Suzanne Reiner with her Adopted soup tureen.
AURORA HISTORICAL SOCIETY
“VEST POCKET” FOLDING CAMERA, C. 1914
ACCESSION NUMBER: HA2011.8.90a
ABOUT THIS ARTEFACT
Folding cameras, which get their name from their ability to fold into a compact and robust package when not
in use, were the most popular type of camera from the beginning of the 20th century to WWII. This type of
folding camera is known as a ‘Vest Pocket’ camera as it can easily fit into a pocket.
During WWI, the army wanted only “official war pictures” to be produced in order to control the information
available to the public and help maintain morale at the home front. Although not permitted, many soldiers
snuck their own cameras into the trenches in France. The ‘Vest Pocket’ camera was the camera of choice for
WWI soldiers due to its size.
The company that produced this camera is unknown which makes the artefact hard to date. However, the
trellis struts attached to the lens on this camera indicates that it is an early model as later versions of folding
cameras are designed with a drop bed. The accordion fabric extending from the body of the camera to the
lens is called the bellows. This assists in focusing the camera as it allows the lens to be moved with respect
to the focal plane. The waist-level viewfinder rotates 90 degrees for either portrait or landscape framing.
Some ‘Vest Pockets’ come with an autographic feature that allows the photographer to enter notes onto the
negative. Comments are scratched into paper on the back of the film with a stylus and then burned into the
negative when exposed to the sun.
With the exception of the introduction of the autographic feature, virtually all ‘Vest Pocket’ cameras adhere
to the same design and construction with the only variation being the type of lens fitted.
ADDITIONAL HISTORY
This particular camera belonged to the Hillary
family and is currently on display as part of the
150 Artefacts for 150 Years: Celebrating Hillary
House National Historic Site exhibit which
opened May 12, 2012 at Hillary House.
The camera was also featured in the June 5,
2012 edition of The Auroran newspaper.
STATUS: AVAILABLE FOR ADOPTION
ADOPT AN ARTEFACT 2012
WESTINGHOUSE TURNOVER TOASTER, C. 1914
ACCESSION NUMBER: HA2011.13.39
ABOUT THIS ARTEFACT
George Westinghouse was born in 1846 in New York. In addition to patents relating to the railroad and
alternating current electricity, he was also awarded the American Institute of Electrical Engineers (AIEE)
Edison Medal in 1911 for “meritorious achievement in invention and development of alternating current
systems and apparatus.”
In 1897, Westinghouse opened a production branch in Hamilton, Ontario which led to its incorporation as a
Canadian company in 1903. More plants were established across Canada which manufactured air brakes.
Household appliances and steam and gas turbines. Although the parent company changed its name and
focus over the years, in 1998 the plant in Hamilton was sold to Siemens (Germany) and renamed Siemens
Westinghouse, which continues to operate under a division of Siemens Canada Ltd.
This Turnover Toaster, produced by Westinghouse, allowed for bread to be toasted inside the cage-like
containers. Although missing its cord, this Turnover Toaster still has the two prongs attached where the cord
would have been attached. The plaque on the side of the toaster indicates that it was made in the Hamilton,
Ontario production plant.
ADDITIONAL HISTORY
This toaster was used by the Hillary family and is currently on display as part of the 150 Artefacts for
150 Years: Celebrating Hillary House National Historic Site exhibit which opened May 12, 2012 at
Hillary House.
The toaster was featured in the June 19, 2012 edition of The Auroran newspaper.
STATUS: AVAILABLE FOR ADOPTION
AURORA HISTORICAL SOCIETY
CHRISTENING GOWN, C. 1874
ACCESSION NUMBER: HA2011.3.245
ABOUT THIS ARTEFACT
This Christening gown was made by nuns in France. It was presented by the congregation of the Church of
England to Rev. and Mrs. Horace Mussen for the christening of their first grandchild, Stuart Hillary in 1896.
Horace Mussen was Rector of Trinity Church, Aurora. The gown has been worn by at least 37 children since
then.
Until the 17th century, young babies would be wrapped in tight swaddling clothes and carried to the font in a
bearing cloth (a large square piece of silk that usually had gold lace and braid trim) for their baptism. The
christening gown, or “slip dress”, emerged in the mid-18th century when babies were freed of swaddling at
an earlier age. By the 19th century, christening outfits consisted of a long gown made of white material that
was decorated by elaborate lace and embroidery, and sometimes had matching bonnet and booties. These
garments mimicked ladies fashion styles of the period.
During the Victorian Era, there was a tradition that the baby would sleep in the christening gown on the night
of their baptism as it was thought that this act would bring luck and good health into the baby’s future.
White is the colour the Church insisted all babies to wear when christened as it is a symbol of purity. During
the Victorian Era cotton became widely used to make the gowns as it was more readily accessible, prior to
this silk and satin were more common. The elegant décor on mid to late 19th century gowns is known as
Ayrshire work, a form of white-on-white embroidery that originated in the Scottish Lowlands.
19th century families were typically large and christening gowns were often worn by all new family members.
This was made possible by its fastening ties that allowed the garment to fit any sized child. We know that this
gown was originally intended for a boy (Stuart Hillary) due to the fact that the robings surrounding the v-panel
on the bodice meet at a pointed tab. If the gown was meant for a girl, the tab would have been folded under.
Christening gowns are often passed down from generation to generation, becoming family heirlooms, just
like this beautiful piece in the collection at Hillary House.
ADDITIONAL HISTORY
This particular christening gown belonged to the Hillary family and is currently
on display as part of the 150 Artefacts for 150 Years: Celebrating Hillary House
National Historic Site exhibit.
This christening gown also served as the inspiration for a large painting by artist
Karin Foulds currently on display at Hillary House as
part of the Art at the Manor exhibit which opened
May 12, 2012 at Hillary House.
STATUS: AVAILABLE FOR ADOPTION
ADOPT AN ARTEFACT 2012
AURORA HISTORICAL SOCIETY
HORSE BUGGY WHIP, C. 1870
ACCESSION NUMBER: HA2011.8.91a-b
ABOUT THIS ARTEFACT
The barn on the property of Hillary House enabled the doctor to maintain his practice. Although there is a
consulting room at the front of the house, Dr. Hillary more commonly travelled to his patients’ homes
throughout Aurora, King and the Township of Whitchurch for appointments. The barn was home to his horse,
and housed supplies and equipment. The Hillarys owned a sleigh, a gig (a light two wheeled carriage), and a
phaeton (a large four wheeled carriage).
Horse buggy whips aid carriage drivers in directing a horse harnessed to a buggy or other
small open carriage through touch and sound. Initially, when driving horses first became
common, whips were as simple as a stick. Buggy whips evolved and by the 19th century
they took on the form we are familiar with today, consisting of a long stiff shaft and have
a relatively short lash with popper. The whip makes a cracking noise to signal the horse
forward. With the increase in the production of whips in the 18th century, elements of
quality were taken into consideration when manufacturing whips. The most popular type
of wood used for whip shafts in North America was hickory, and holly in Europe. Some
were manufactured with butts on the end of the handle made of precious metals, in this
case with silver. These features elevated the whip into being a symbol of status and
wealth.
Although limited manufacturing of these whips still occur for sport and
historic driving carriages, the buggy whip industry as a major economic
entity ceased to exist with the introduction of the automobile.
ADDITIONAL HISTORY
This item is currently on display as part of the 150 Arte-
facts for 150 Years: Celebrating Hillary House National
Historic Site exhibit which opened on May 12, 2012.
Several photos can be found in the Hillary Collection
that show the doctor in the
family carriage with whip in hand.
STATUS: AVAILABLE FOR ADOPTION
ADOPT AN ARTEFACT 2012
WEDGEWOOD, DARK BLUE JASPER PITCHER, C. 1891 – 1908
ACCESSION NUMBER: HA2011.13.22d
ABOUT THIS ARTEFACT
The Wedgwood company began in 1759 by Josiah Wedgwood, who was born in Burslem, England in 1730.
He experimented with many different materials to create different colours of ceramics, such as barium sul-
phate. Barium sulphate is a white colourless mineral which is used as pigment for most paints.
With most of his pieces he mixed the barium with blue jasper and created ceramics that depict Greek and
Roman scenes.
In 1780, Wedgwood asked his friend Erasmus Darwin to be his business partner after his previous partner
passed away. Eventually Wedgwood’s daughter and Darwin’s son married. Their son was Charles Darwin.
When Wedgwood passed away in 1795, he left a thriving business to his children.
ADDITIONAL HISTORY
This piece is currently on display at Hillary House as part of a matching set, along with other examples
from the Hillary’s fine china collection.
This pitcher was featured in the June 12, 2012 edition of The Auroran newspaper.
STATUS: AVAILABLE FOR ADOPTION
AURORA HISTORICAL SOCIETY
TENNIS RACKET, 1905
ACCESSION NUMBER: HA2011.8.79a-b
ABOUT THIS ARTEFACT
The Hillary family was involved in the establishment of a Tennis Club in Aurora. As a result, tennis was a sport
that all the Hillary children played. There used to be a tennis court on the North lawn of the grounds, and the
Hillarys hosted tournaments for the Club on their property.
In 1871 George Wright and Henry A. Ditson founded the Wright & Ditson Company, which focused on manu-
facturing sporting goods and athletic apparel for tennis, baseball and golf. George Wright played for Boston’s
National League baseball team in 1877 and was inducted into the Hall of Fame. The company would be
bought by Spalding in 1891, but the Wright & Ditson name continued to be used on the tennis rackets and
balls into the 1940s. The ‘Champion’ racket model was patented on January 3, 1905.
The Wright and Ditson brand of tennis ball was the first to dominate the US
market. The brand can boast of supplying the official ball for the USLTA Na-
tional Championships (now called the US Open) for approximately 60 years.
The sport of tennis has a very fascinating history, including the development
of tennis equipment. In terms of rackets, lopsided or ‘tilt top’ rackets were
mainly produced until 1882 when the triangular flat top rackets became more
popular. By 1883, the tilt was totally given up and the head of rackets took on
the symmetrical structure that we see today. In 1885, oval shaped rackets
were introduced.
ADDITIONAL HISTORY
This item is currently on display as part
of the 150 Artefacts for 150 Years: Cele-
brating Hillary House National Historic
Site exhibit which opened May 12, 2012.
The tennis racket was featured in the
July 24, 2012 edition of The Auroran
newspaper.
STATUS: AVAILABLE FOR ADOPTION
ADOPT AN ARTEFACT 2012
SOUP TUREEN SET, 1849
ACCESSION NUMBER: HA2011.13.1a-d
ABOUT THIS ARTEFACT
This tureen was made by James Edwards in 1849. On the base of the tureen is written: “To prevent this
shape from being copied it was entered at the registry office of Designs May 30th 1849 by James Edwards.”
This piece is important because it was made before James created his company, James Edwards & Sons, in
Burslem, England in 1852. The company remained in business until 1882.
Items that were made of Ironstone were thick and heavy, therefore, the shape of the ceramic items became
important. In the 1840’s, James Edwards used all white glazed ware with angular shapes that deviated from
the gentle curves typically used.
ADDITIONAL HISTORY
This artefact is currently on display at Hillary House along with many other examples from the Hillary’s
fine china collection.
STATUS: ADOPTED
AURORA HISTORICAL SOCIETY
EVERYMAN ENCYCLOPAEDIA OF GARDENING, C. 1906-1928
ACCESSION NUMBER: HA2011.5.347
ABOUT THIS ARTEFACT
An illustrated Encyclopaedia of Gardening by Walter P. Wright. The encyclopaedia
was published in London by J. M. Dent & Sons Limited and in New York by E. P.
Dutton & Co. The leatherette cover of the book is maroon in colour with gold type
and flower embellishment. Title, author and publishers are printed on the spine.
“Everyman, I will go with thee and be thy guide, In thy most need to go by thy
side”, the tagline for Everyman’s Library books, is on the front cover. The corners
of the binding are rounded, and the edges of the pages are gilt. A thin light blue
ribbon bound into the book acts as a page maker.
This is a first edition of An Illustrated Encyclopaedia of Gardening by Walter P.
Wright (1864-1940) printed as part of the Everyman’s Library collection. The
Everyman’s Library was conceived by J. M Dent (1849-1926), a bookbinder and
publisher, and Ernest Rhys (1859-1946), a poet and editor, in 1905. Their vision
was to produce a collection of 1,000 of the greatest books available throughout
the world that would be presented in an attractive but affordable edition for the
common man.
The books in the Everyman’s Library collection were divided into 13 categories,
each of which had an assigned colour for the binding. A resource book, such as
the Illustrated Encyclopaedia of Gardening, was denoted by maroon. Books with
the special leatherette binding were originally sold for two shillings—twice the
price of books with the standard binding.
ADOPT AN ARTEFACT 2012
The leatherette binding is an indicator that this encyclopaedia was published between 1906 and 1928. The
fact that there is no copyright date printed inside the book, means that this encyclopaedia was printed as
part of a first edition.
Reginald L. Knowles designed the endpapers used on Everyman's Library books until 1935. The endpapers
illustrate the figure of Good Deeds from the medieval play Everyman, facing her sister Knowledge's pledge,
which is the series tagline: "Everyman, I will go with thee and be thy guide, in thy most need to go by thy
side.”
An ornate frontispiece and title page is one of the most distinctive elements of early Everyman's Library
books. Thirteen different designs with famous quotes were created for their corresponding categories. A quo-
tation from The Merry Wives of Windsor, written by William Shakespeare, is in all ‘Resource’ books. “I will
make a prief of it in my notebook” is said by the Welshman Sir Hugh Evans in Act I, Scene 1 of the play.
Shakespeare's spelling of the word ‘brief’ with a ‘p’ is a caricature of a Welsh accent.
ADDITIONAL HISTORY
This book is currently on display as part of the 150 Artefacts for 150 Years: Celebrating Hillary House
National Historic Site exhibit which opened May 12, 2012 at Hillary House.
The encyclopaedia was featured in the July 10, 2012 edition of The Auroran newspaper.
STATUS: AVAILABLE FOR ADOPTION
AURORA HISTORICAL SOCIETY
G. PHILLIPS DINNER PLATE, C. 1831 - 1847
ACCESSION NUMBER: HA2011.13.11
ABOUT THIS ARTEFACT
This plate was manufactured by the Edward and George Phillips pottery which was founded in 1822 in Long-
port, England.
After the death of his brother Edward in 1831, George continued with the company but changed the maker’s
mark to G. Phillips.
In 1847, George passed away and the production of pottery stopped.
The father of Edward and George was a merchant in Newcastle under Lyme, and no one in the family had a
pottery background. Edward married Benedicta Wedgwood, who had become a ward of Josiah Wedgwood
after her father died.
At this point Wedgwood was in the pottery making business and the brothers leased the New Bridge pottery
in Longport to start their business.
ADDITIONAL HISTORY
This artefact is currently on display at Hillary House along with many other
examples from the Hillary’s fine china collection.
This dinner plate was featured in the July 17, 2012 edition of The Auroran
newspaper.
STATUS: AVAILABLE FOR ADOPTION
ADOPT AN ARTEFACT 2012
ROYAL DOULTON WATER PITCHER C. 1891 – 1902
ACCESSION NUMBER: HA2011.13.12
ABOUT THIS ARTEFACT
The Royal Doulton company originally began fabricating stoneware in a factory at Vauxhall Walk, Lambeth, in
London under the partnership of John Doulton, Martha Jones, and John Watts. It was not until 1853, that the
company was named Doulton where John and his son, Henry, created fine stoneware. In 1877, the company
purchased a small factory on Nile Street in Burslem, England.
In 1901, the products of Doulton had become popular that the Royal Family took notice and granted them
the name Royal Doulton. Today Royal Doulton is no longer a family business, but is still being manufactured
under the same name. The base of this water pitcher has the maker’s mark which reads: “DOULTON BURL-
SEM”// “DOULTON + SLATERS PATENT” // “ENGLAND” // “2055 a” // “AWP”// “DOULTON’S.” The maker’s
mark suggests a date of 1891-1902.
ADDITIONAL HISTORY
This artefact is currently on display at Hillary House along with many other examples from the Hillary’s
fine china collection.
This pitcher was featured in the July 3, 2012 edition of The Auroran newspaper.
STATUS: AVAILABLE FOR ADOPTION
AURORA HISTORICAL SOCIETY
AMPUTATION KIT, C. PRE—1860
ACCESSION NUMBER: 994.38
ABOUT THIS ARTEFACT
Amputation Kits like this one were used by medical surgeons on the battlefield. This amputation kit is be-
lieved to have been used by Dr. Michael Hillary, Robert William’s brother, who served as a surgeon on the
Southern side during the American Civil War (1861-65).
With many soldiers wounded and requiring immediate medical attention, amputation was often the outcome
of an injury. This amputation kit contains eleven medical instruments – two saws, three knives, a needle with
handle, forceps, tenaculum, tourniquet and two curved needles.
The saws are called a tenon saw and bow, or metacarpal, saw. The tenon blade is long and reinforced by a
strong handle whereas the bow, or metacarpal, saw had the advantage of an adjustable blade which could
be replaced by spare blades. The tenaculum was a device used to pull arteries so that they could be tied
during surgery. The Petit’s tourniquet was used to apply pressure to a limb resulting in controlled circulation
and blood flow of the injured limb. By applying this pressure, blood loss was limited and the surgeon could
work in a relatively blood-free environment which enabled cleaner and quicker surgeries.
ADDITIONAL HISTORY
On permanent display in the Consulting Room at Hillary House National Historic Site
The amputation kit was featured in the Toronto Star on January 5, 2011.
This amputation kit was also fea-
tured in the May 29, 2012 edition
of The Auroran newspaper.
STATUS: AVAILABLE FOR ADOPTION
ADOPT AN ARTEFACT 2012
SQUARE PIANO, C. 1850
ACCESSION NUMBER: HA2011.2.21
ABOUT THIS ARTEFACT
This “square” piano was manufactured by John Morgan Thomas and is the earliest known piano of its type
produced by a Toronto maker. Thomas worked in Toronto between 1843 and 1875; these dates combined
with the style of this piano suggests a date of c. 1850. The square piano is different from other pianos be-
cause the strings run from left to right rather then back to front. Square pianos were popular in the mid to
late 1800s because they were small and could suit any size domestic household. The square piano did
evolve into grander and more ornate versions which then became obsolete with the popularity of the modern
upright piano.
This piano is believed to have been used by the Hillary family until the early 1900s. It was at this time that
they purchased a modern upright piano – which remained at Hillary House until 1950 and is now owned by
the private collection of Hillary family members. The Hillary family did not dispose of the square piano; it
was removed from the house and into the barn until the Aurora Historical Society returned it to its current
place in the drawing room.
ADDITIONAL HISTORY
This piano is on permanent display in the Drawing Room at Hillary House National Historic Site.
In 1996, the piano case was restored by the Canadian Conservation Institute.
It was also featured in the June 26, 2012 issue of The Auroran newspaper.
STATUS: AVAILABLE FOR ADOPTION
AURORA HISTORICAL SOCIETY
AURORA HISTORICAL SOCIETY—ADOPT AN ARTEFACT PROGRAM
TERMS OF AGREEMENT
1. OWNERSHIP
The Aurora Historical Society (AHS) retains ownership of, and all rights to, the adopted artefact.
2. METHODS OF ACKNOWLEDGEMENT
The Adoptor will identify the method of acknowledgement at the onset of adoption.
Methods of acknowledgement will not be altered after the Adoptor has signed the Adoption Contract.
3. CARE AND PRESERVATION
The Adoptor is not permitted to remove the artefact from its place of display or while in storage. (NB: See
Pt.5). In compliance with accepted museum standards, the Adoptor will abide by all methods of care and
preservation that AHS upholds while in the presence of the artefact (e.g. handling).
4. COPYRIGHT
The AHS retains copyright of the artefact. If the Adoptor wishes to acquire a reproduction photograph of
the adopted artefact they must request it from AHS and receive permission for its use (NB: See pt.5).
Any reproduction of the artefact must bear the credit line at all times attributing AHS with full ownership.
The Adoptor must acquire permission to use the image for public purposes/non-personal uses (e.g. in pub-
lications, for public display).
5. INTERPRETATION
As per the adoption levels of acknowledgement, the Adoptor may choose to write the accompanying object
exhibition label. Subsequently, the exhibition label will be edited and approved at the discretion of AHS
Curatorial staff. If approved, the placement of the written label in period rooms or exhibition spaces at
Hillary House will be at the discretion of AHS Curatorial staff.
6. USAGE
If the Adoptor identifies outreach as the method of acknowledgement, AHS will have complete design of
the programming and final approval of the outreach program to be delivered. AHS will have authority, and
final approval, over determining the location and duration of the outreach program.
7. RENEWALS
Adoptors who adopt at the $200 level will be given first right of adoption for a second year.
8. TERMINATION
AHS reserves the right to terminate the adoption agreement if the Adoptor is not held in compliance with
any of the above points.
ADOPT AN ARTEFACT 2012
ADOPTION CONTRACT
ADOPTOR INFORMATION
Adoption Level: $150 $200 Expiry Date of Adoption:
Contact Name:
Address:
Phone: Email:
Individual Organization Business Other:
ARTEFACT INFORMATION
Object Name:
Accession Number:
Description:
Notes:
METHOD OF ACKNOWLEDGEMENT PLEASE CHOOSE YOUR PREFERENCE(S)
Anonymous/Private Acknowledgement in Annual Report
Acknowledgement in newsletter Donor name displayed with artefact
Donor name and label displayed with artefact
Acknowledgement on AHS website
Outreach programming (to be approved upon discussion with Curatorial Staff)
My signature below signifies that I am Adopting an artefact from the Hillary House collection belonging to
the Aurora Historical Society. I have read and understand the agreement terms.
______________________________________ Date
The signatory below represents the Aurora Historical Society and is authorized to enter this Adoption
contract. They will ensure all parties have a copy of the agreement terms and contract.
_______________________________________ Date
15372 Yonge Street, Aurora ON L4G 1N8
905-727-8991
www.aurorahistoricalsociety.ca
2012 BOARD OF DIRECTORS
Mayor Geoffrey Dawe
Honorary President
Andrew Kipfer
Past President
EXECUTIVE Suzanne Reiner
President
Patricia Wallace
1st Vice-President
Wayne Keilty
2nd Vice-President
John Smale
Treasurer
Bob McRoberts
Secretary
DIRECTORS Bill Albino
Theresa Buck
John McIntyre
STAFF Catherine Richards
Manager / Curator
Nicola Jago
Curatorial Assistant
Lindsay Bontoft
Administrative Assistant
Alexandra Riccio
Community Development Assistant