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National Wool Museum
Textile - 1992 Barcelona Olympic Games Official Occasions Men's Trousers, c.1992
... blend fabric. 8341.2 - Green sample fabric with labels stapled... made from a wool blend fabric. 8341.2 - Green sample fabric ...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.8341.1 - A pair of dark green trousers made from a wool blend fabric. 8341.2 - Green sample fabric with labels stapled on. One staple that was used to attach the label has gone through several layers of fabric preventing it from being unfolded. 8341.3 - Green sample fabric with white thread attached where it has previously been sewn. 8341.4 - Green sample fabric. 8341.5 - Green sample fabric.8341.1 - On label - FLETCHER JONES 8341.2 - on labels- Wool PE. 80:20 FAILLE WEAVEolympics, 1992 barcelona olympics, olympic uniforms, trousers, wool, fletcher jones, wendy powitt -
National Wool Museum
Document - Mastercard, 1970-1975
... Brown card with fabric sample stapled to the top right...-and-the-bellarine-peninsula Mastercard Document Brown card with fabric ...Nino Corda was a Geelong based textile designer who worked at various textile mills between 1957 & 2003. He travelled the world in search of the latest fashions and techniques and developed timeless designs that were much loved by Australians. These items are on rotational display at the National Wool Museum’s ‘In the Factory’ exhibition. For many years, Nino also worked as part of the Honorary Staff of the National Wool Museum. His passion for the world of textiles provided energy and knowledge to the visitors and staff of the museum. Although Nino has now retired from his honorary position and has hung up his Australian Tartan vest, these items will continue to serve the community in sharing the stories of Australian Textile design. Once a pattern has been selected for mass production, a master card is produced. A mastercard shows exactly how to replicate the designs and colours depicted on the sample attached. “Ends” is the technical word to describe a vertical band and “picks” describes a horizontal band.Brown card with fabric sample stapled to the top right. Writing is present on the left and bottom of the card detailing the information applicable to the design of attached fabric. 14 individual Masetercards in collectiontextile calculations, textile design -
National Wool Museum
Textile - Wool Samples, CSIRO, Matilda's Wool Samples, 2005
... been washed and combed, the third a fabric sample created from... and combed, the third a fabric sample created from the wool. Matilda ...Matilda was a Merino ewe who went missing for over 5 years on cattle country just outside of Hamilton. When she was found she had over 30 kgs of fleece that needed to be shorn. She was shorn in Melbourne's Federation Square in 2005. Her fleece was then processed into fabric by CSIRO. The fleece made enough fabric for six jackets. The jackets were auctioned at Crown Palladium Ballroom in March of that year. The winners had their jacket tailored to their measurements by Blazzer. All profits from the auction went to Celebration of Life, a fund established to support Victoria's Royal Children’s Hospital neonatal unitFour samples of wool in the different stages of process. The first two are of the raw fleece from the sheep, the second has been washed and combed, the third a fabric sample created from the wool.wool, sheep, merino wool, missing sheep, maltilda, fleece, csiro -
Bialik College
Textile - Fabric swatches for library redevelopment, 2009-2010
... Fabric samples and options for library redevelopment, Ron... Fabric samples and options for library redevelopment, Ron Unger ...Fabric samples and options for library redevelopment, Ron Unger Architects with Genevieve Johnstone Interior Design, 2009-2010. Includes furniture fabrics and internal finishes samples. Please contact [email protected] to request access to this record.2000s, buildings -
National Wool Museum
Textile - Quilt, Lucy Anderson, 1960-1965
... woollen fabric. The samples are machine sewn together. It has... woven samples of polychrome woollen fabric. The samples ...The samples are examples of products made at the Returned Sailors and Soldiers Mill in Geelong but discontinued before 1960. They were used to show shops what materials were available. The samples were given to Mr Robert Anderson, an apprentice fitter and turner at the mill between 1960-1965. His mother, Mrs Lucy Anderson, sewed the samples into quilts in the early 1960s. This is one quilt of three.A quilt made of rectangular woven samples of polychrome woollen fabric. The samples are machine sewn together. It has a blue, red and yellow pieced backing which is loosely handsewn onto the quilt.Back: [handwritten] A Andersonhandicrafts, returned soldiers and sailors mill, wagga, samples, anderson, mr robert anderson, mrs lucy, geelong, victoria -
National Wool Museum
Textile - Quilt, Ms Shirley Critchley, Unpicked Jumper Wagga, c.1960
... quilts, the “Tartan Fabric Sample Quilt” is located within... with Shirley’s guidance. One of Jane’s first quilts, the “Tartan Fabric ...This quilt was created by Ms Shirley Critchley, c.1960. it was made in a wagga style from unpicked knitted jumpers that Shirley would repurpose. Some of these jumpers were from her daughters out growing their garments, while others were from jumpers Shirley would find at opportunity stores. One of Shirley’s daughters, Jane McGrath, followed in her mother’s footsteps and begun quilting with Shirley’s guidance. One of Jane’s first quilts, the “Tartan Fabric Sample Quilt” is located within the National Wool Museum’s collection (REG 8282). Multicoloured wagga style quilt. The quilt’s top layer is made from unpicked knitted woollen jumpers. These jumpers are in a variety of colours including yellow, blue, green, and red. Some blocks are a single colour, while others have been knitted with a different secondary colour such as grey or white to give noise. The quilt has an unknown insulating fabric. It shares its backing fabric with the material used to bind the edges together. This material is a woollen blanket in a tartan pattern of a blue background with green and red lines. The quilt is sized to suit a single bed. quilts, wagga, upcycle, shirley critchley/jane mcgrath collection, woollen jumpers -
National Wool Museum
Sample, Cloth
... Sample of fabric produced by Collins Bros Mill for use... VIRGIN WOOL Sample of fabric produced by Collins Bros Mill ...Sample of fabric produced by Collins Bros Mill for use in Physician brand blankets, c.1930s.TRADE MARK / PHYSICIAN / REG NO 16997 / SPOTLESS FINISH / FREE FROM FILLING / GUARANTEED PURE VIRGIN WOOLtextile production, collins bros mill pty ltd -
National Wool Museum
Sample, Cloth
... Sample of fabric produced by Collins Bros Mill for use... VIRGIN WOOL "PHYSICIAN" Regd. Sample of fabric produced ...Sample of fabric produced by Collins Bros Mill for use in Physician brand blankets, c.1930s.TRADE MARK / PHYSICIAN / REG NO 16997 / SPOTLESS FINISH / FREE FROM FILLING / GUARANTEED PURE VIRGIN WOOL "PHYSICIAN" Regd.textile production, collins bros mill pty ltd -
National Wool Museum
Sample, Cloth
... Sample of fabric produced by Collins Bros Mill for use... VIRGIN WOOL "PHYSICIAN" Regd. Sample of fabric produced ...Sample of fabric produced by Collins Bros Mill for use in Physician brand blankets, c.1930s.TRADE MARK / PHYSICIAN / REG NO 16997 / SPOTLESS FINISH / FREE FROM FILLING / GUARANTEED PURE VIRGIN WOOL "PHYSICIAN" Regd.textile production, collins bros mill pty ltd -
National Wool Museum
Textile - Quilt, Wedding quilt, 1910-1930
... fabric samples for the quilt which was her contribution... in Flinders Lane, Melbourne VIC. Her employer supplied fabric samples ...Made by Mrs Brown, Queenscliff Victoria c. 1920. Given to the Running Stitch Group by Cyril Brown. Mrs Brown worked as a mantle-maker in Flinders Lane, Melbourne VIC. Her employer supplied fabric samples for the quilt which was her contribution to their home on her marriage. According to Mrs browns son, Cyril, who donated the quilt to the Running Stitch group, the colour was selected by her employer because of the new married name. "If she had married Mr Green it would have been different". Cyril also remembers using the quilt when he and his wife visited his parents at their home on the Bellarine Peninsula. This quilt is one of a collection of quilts known as 'The Running Stitch Collection' donated to the National Wool Museum in 1989 by the Running Stitch Group. (Barbara Macey, Lois Densham, Susan Denton and Jan Ross-Manley). Earliest Date: 1910 Latest Date: 1930Quilt of brown woollen patchwork on both sides. 1770 x 1750 mmquilting - history patchwork - history, running stitch group, running stitch collection, brown, mrs brown, mr cyril, quilting - history, patchwork - history -
National Wool Museum
Textile - "Glenmill" Tweed
... Pink and blue patterned sample of fabric, with rough cut..."Glenmill" Tweed Textile Pink and blue patterned sample ...Pink and blue patterned sample of fabric, with rough cut edges. Fabric is doubled over and stitched together. A cream paper tag is attached with black printed text and hand written blue text.front: [tag] “GLENMILL” \ TWEED \ Pattern No. 4289 \ Piece No. 3602 \ Width 54 \ Length 52 5/8 \ Strings 2 \ 52 3/8 back: [tag] 80% WOOL / 20 % RAYON / 0 5 2 5/8 -
National Wool Museum
Uniform - 1992 Barcelona Olympic Games Official Occasions Tie, Wendy Powitt, c. 1992
... with the manufacturers name. 8129.3 - Sample fabric showing the printing layer... with the manufacturers name. 8129.3 - Sample fabric showing the printing layer ...About the 1992 Barcelona Olympic Games donor Doug Pleasance wrote- During the 1980's the Australian wool industry was at its most prosperous times with record numbers of sheep producing wool receiving ever increasing values due to the success of the Reserve Price Scheme, and the overall guidance of the Australian Wool Corporation (AWC). As a humble technician, my role was a low profile newly created position of Controller, Technical Marketing where wool was to be marketed on its technical properties, as distinct from the Product Marketing Group which exploited the traditional high profile approach of marketing wool;s superior fashion attributes. The Woolmark was the tool central to this approach. The 1992 Barcelona Olympic Games saw an evolutionary change in designer selection. A Declaration of Interest Form was communicated to over forty potential designers. The task and especially tight timelines that were involved deterred many aspirants, however, there remained eight designers with the potential we were seeking. These eight designers were paid $3,000 per submission and the winning designer, Wendy Powitt, was paid $15,000. For the first time the judging panel included two athletes, one male swimmer and one female basketballer, their influence was pivotal. The ensemble consisted of three elements- 1. The Official Uniform which was used for travel and all official functions. This included: a tailored blazer and trouser/skirt (all water repellent) by Fletcher Jones, pure wool olive-green faille fabric by Foster Valley, cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, printed wool tie by TD Noone, wool nylon socks by Holeproof and footwear by Hush Puppy. 2. Opening Ceremony Uniform a lightweight wool fabric printed with floral designs that had been inspired by the work of Australian artist Margaret Preston. This included: Lightweight W/PE shorts by Fletcher Jones in Foster Valley Fabric, socks by Holeproof and footwear by Hush Puppy. 3. Village Clothing was designed to be highly visible garments to make it easy to spot the Aussie and helped to contribute to good team spirit. This included: A pure wool shirt featuring blocks of contrasting colours, and a newly developed stretch 50:50 wool/cotton fabric by Bradmill was made into shorts and jeans by Fletcher Jones.8129.1 - Yellow woollen tie printed with an Australian floral design inspired by the work of artist Margaret Preston. Half of the tie is unprinted and cream in colour. On the reverse of the tie is a label with the manufacturers name. 8129.2 - Yellow woollen tie printed with an Australian floral design inspired by the work of artist Margaret Preston. Half of the tie is unprinted and cream in colour. On the reverse of the tie is a label with the manufacturers name. 8129.3 - Sample fabric showing the printing layer of tie, uncut.8129.1 - Tag on reverse - WOVEN & MANUFACTURED IN AUSTRALIA BY "Tee - Dee" EXCLUSIVELY FOR THE AUSTRALIAN WOOL CORPORATION 8129.2 - Tag on reverse - WOVEN & MANUFACTURED IN AUSTRALIA BY "Tee - Dee" EXCLUSIVELY FOR THE AUSTRALIAN WOOL CORPORATION 8129.3 - Stapled Label - "PURE WOOL PRINTED TIE"1992 barcelona olympics, sport, athletes, fashion, design, uniform -
Greensborough Historical Society
Book - Digital Image, Semco, Semco smocking instruction book: sample pages, 1950s
Sample pages from "Semco smocking instruction book". An example of 1950s advertising through sewing and homemaker books. In this book, instructions are given for smocking of garments. Smocking is an embroidery technique used to gather fabric. An example of mid 20th century advertising through 'how-to' books.Digital copy of ample pages from a bookhistoric advertisements, smocking, embroidery, hand sewing, semco -
Greensborough Historical Society
Book - Digital Image, Paragon Art Needlecraft, Smocking Simplified: sample pages, 1940s
Sample page from "Smocking Simplified", showing a line drawing of two small girls wearing smocked dresses. An example of 1940s advertising through sewing and homemaker books. In this book, instructions are given for smocking of garments. Smocking is an embroidery technique used to gather fabric. An example of mid 20th century advertising through 'how-to' books.Digital copy of sample page from a bookhistoric advertisements, smocking, embroidery, hand sewing, paragon art needlecraft -
Greensborough Historical Society
Booklet - Digital Image, N Z Transfer Company, Tip-top Transfers, Book 1: Sprays, 1959_
Front cover and sample page from "Tip-top Transfers, Book 1: Sprays". An example of mid century sewing and homemaker books. In this booklet, iron-on transfers are provided to be applied to garments or other fabric. The design can then be embroidered over the transfer. This edition contains flower designs, or sprays.An example of mid 20th century advertising through 'how-to' books.Digital copy of front cover and sample page of a booklethistoric advertisements, domestic science, tip top transfers, embroidery, sewing -
Federation University Historical Collection
Letter, F.E. Ferguson, Correspondence between Robert Reid & Co. Limited and Ballarat School of Mines, 20/05/1958 and 29/05/1958
Robert Reid & Co. Ltd was a textile, clothing and footwear retailer between 1919-1966. The company was bought be Joseph Pickles and Son in 1936. The Ballarat School of Mines began in 1870, and gradually developed to become an education institution. F. E Ferguson was the registrar at the time. The letter concerns the acquirement of the fabric Actil "Fasco" No. 49, which was out of stock and instead a sample of No. 57 was sent. This was not suitable for intended purpose. Two letters between Robert Reid & Co. Limited and Ballarat School of Mines. Both have pen annotations and signatures. The Robert Reid & Co. letter enclosed a piece of fabric, Actil "Fasco" No. 57Secretary marks include "Not suitable" Signatures from Registrar F. E Ferguson at Ballarat School of Mines and J. Pickles and Son of Robert Reid & Co.robert reid, robert reid & co. limited, ballarat school of mines, ballarat, j. pickles, j. pickles and son, f. e. ferguson, registrar, fabric, actil "fasco" no. 49 -
Federation University Historical Collection
Letter Book, Ballarat School of Mines Outward Letter Book, 1874-8, 1874 - 1878
The Ballarat School of Mines was Australia's first School of Mines, which was established in 1870.Large letter book with rough calf spine and corners, green fabric cover, green marbled end papers, and leather spine labels. Sample letters are shown below Melbourne July 20/77 My Dear Maskelyne, The object of this note is to introduce Mr Barnard the Registrar of the School of Mines at Ballarat to you, and to your Department at the museum as a Correspondent. I presume you still collect specimens all over the world, and from time to time exchange with other museums. The Ballarat School of Mines is subsidized by the State, and is not unlikely to become our chief mining school if indeed it is not that already. As it is in the midst of an interesting geological district it may now and again be able to contribute something rare and valuable even to the British Museum, and on the other hand what is valueless to you may be of greatest use to us. You may place implicit confidence in Mr Barnard who has been connected with the School for years, and is an enthusiast in Scientific matters. Very Truly Yours Charles H. Pearson. P.E. Day Esq M.A. London My dear Sir I have the pleasure to inform you that I have this day written to Professor Maskelyns of the British Museum asking his help in the way suggested by Professor Pearson in a not of introduction with which he has favoured me, and copy of which is now enclosed. May I beg you to be so good as to call on Professor Machelyne make arrangement for the shipment of any case or cases of specimens which the may be able and willing to present to the School. Need I add that your prompt attention to this matter will be much esteemed by Yours faithfully W.H. Barnard Registrar Pro tem ballarat school of mines, correspondence, w.h. barnard, barnard -
Federation University Historical Collection
Book, Australasian Institute of Mining Engineers, Transactions of the Australasian Institute of Mining Engineers, Volume X, 1905
Fabric covered hardcovered book of 367 pages. Includes a number of pullout plans. Contents * Mount Lyell Mining Field Tasmania by Professor J.W. Gregory * Concentration of solver-led ores (with 6 plates) by V.F. Stanley Low * Phosphate Deposites of Ocean and Pleasnt Islands (with 15 plates) by F. Danvers Power * Coal and Coal Mining in New SoPleassant Isuth Wales by Thomas Parton * Method of TImbering at the Mount Rex Tin Mne, Ben Lomand, Tasmania by Mark Ireland * Peck's Centrifugal Elevator by W. Peck * A Portable Assay Furnace by J.J. Gillio * NOtes on Sampling by A.C. Thomas * The Career of the Gold Dredge i n New South Wales by David K. Blair * The Transmission of Power by COmpressed Air in Mines by R.W. Chapman * The Misplacement of Mning Shafts and Adits in Victoria (with 7 figures) * The Indicators of the Daylesford Gold Mines, Victoria * Mining Accounts by R.N. Kirknon-fictionausimm, a.s. kenyon, frank a. moss, mount lyell, j.w. gregory, coal, gold dredge, transmission of power, mining shaft audits, daylesford gold mines, spitzkastens, ocean island banaba, pleasant island nauru, pinnacles on flat reef pleasant island, ocean island, blow hole howe bay, rock phosphate, thomas parton, mark ireland, mount rex tin mine, ngapara dredge, w. peck, w.h. vale, daylesford, jim crow diggings, glenmona gmc, f. danvers power, leigh g. hancock, workers' industrial union of australia (barrier district) -
Morongo Old Collegians
Uniform Pocket
The owner of this blazer pocket is currently unknown - relevant information will be located and added at a later date.This is a significant sample of a 1940-1950 blazer pocket.Blue-grey wool blazer pocket, with gold embroidered school crest with green fabric behind the gold lantern. It also has a navy ribbon on the top of the pocket.Words embroidered around the crest "Sint Lucernae Ardentes".education, school, morongo, geelong, girls, uniform, 1920 1994, boarding, presbyterian, uniting, blazer -
Robin Boyd Foundation
Functional object - Cutlery, Stuart Devlin, 1966
A set of crockery and cutlery was designed for the Australian Pavilion at Expo 1967 in Montreal Canada. Robin Boyd is thought to have designed the crockery (item F130). The cutlery design was by Stuart Devlin.A sample set of cutlery in a blue fabric cloth casingexpo 67, walsh st miscellaneous, robin boyd -
RMIT Design Archives
Textile - Textile Design Sample
The Polish born artist, designer and filmmaker, Stanislaus Ostoja-Kotkowski (1922-1944), who arrived in Melbourne in 1949 on the 'Fairsea', a ship carrying displaced persons from Europe and the Baltic States. He sought employment in architectural and design practices, and also enrolled in classes at the National Gallery School. From 1952 until 1953 Ostoja-Kotkowski had a brief, but productive, period working as a designer in the Prestige Fabric Design Studio in Melbourne. Ann Carew, 2017The textile design has aesthetic significance as an example of the early Australian work of noted emigre artist, designer and filmmaker, Stanislaus Ostoja-Kotkowski, and it has historical significance for its association with the Prestige's Textile Design Studio, and the studio's art director, Gerhard Herbst. Small sample of pale green rayon fabric with a bold, repeating geometric pattern printed in black and white.emigre, polish, design, textile design, rmit design archives -
Westbourne Grammar Heritage Collection
Uniform - Handmade Summer Dress
... this period. Together with a dress pattern and a sample of the same... with a dress pattern and a sample of the same fabric donated by another ...This was the uniform of junior girls from the 1960s until the new campus for secondary students began at Truganina in 1978. Shortly after the opening of the secondary campus a new dress, green in colour, was adopted for all girls. This summer uniform dress, donated by a past parent, was handmade and worn by a prep student in 1977. It is a rare example of the school dress from this period. Together with a dress pattern and a sample of the same fabric donated by another past parent, these items have historic significance and interpretive capacity. Current students enjoy learning about how different the provision of school uniforms was not so long ago, as Westbourne uniforms can now be ordered online.Small belted dress in blue checked pattern with white collar and sleeve cuffs and three white buttons down the front. -
Duldig Studio museum + sculpture garden
Fabric, Mathilda Flogl, Falter designed by Mathilda Flogl 1924-31, 1924-31
This piece of fabric, known Fälter (butterfly), was designed by Mathilda Flögl (1893-1958), who worked in the textile department of the Wiener Werkstätte in Vienna. It is a remnant of the fabric that was used to make a bedspread for Karl and Slawa’s bed in their Vienna apartment where it lay decoratively over a gold brocade eiderdown. The purchase demonstrated Slawa’s interest in and knowledge of modern design and her commitment to the idea of enriching everyday life with beautiful objects, a principal of the Viennese Secession. Following the Duldigs removal from Vienna, the original bedspread and remnant were safeguarded and preserved by Slawa’s sister, Rella, in the basement of her Paris apartment. In 1948 the bedspread and this remnant were sent to Australia. The bedspread was a much-loved item but deteriorated over the years. In 1955 it was made into curtains, which are held in the Duldig Studio Collection. The Photographs of the bedspread in its original location are also held in the collection. The remnant is in pristine condition. The Wiener Werkstätte (Vienna Workshop) was a guild of designers and craftsmen that was founded by the architect Josef Hoffman (1879-1956) and the designer Koloman Moser (1868-1918). The firm manufactured a range of interior furnishings between 1903 and 1932. The textile department opened in 1900, and produced about 1,800 designs, mainly for printed fabrics for furnishings and apparel. The designs were characterised by simplified forms and vivid colours, and inspired by Eastern European peasant art and geometric motifs in contemporary painting. The workshop had a profound impact of European art and design, and its work is still celebrated today. Mathilde Flögl was born in the Czech Republic in 1893, and studied at the Kunstgerwerbeschule in Vienna. In 1916 she began working at the Weiner Werkstätte, and where she designed more than 120 textile patterns. This fabric Fälter or Butterfly was designed in 1924. The butterfly was a favourite motif of Flögl. In this design she plays with a variety of whimsical abstractions and arrangement of both the butterfly and the snail on a background of abstract colour stripes and blocks. Ann Carew 2016The fabric is of great aesthetic interest as an example of the work of the Viennese workshops, and the noted designer textile designer Mathilde Flögl. The original pencil drawings, pencil and gouache designs, and fabric swatches for Fälter are held in the MAK Museum in Vienna, and the Victorian and Albert Museum in London have a sample of piece of the silk fabric in an alternate colour wave. The Museum of Applied Arts in Sydney holds a swatch book of textiles from the Wiener Werkstätte, however Flögl’s work is not represented. The National Gallery of Victoria holds a similar swatch book. The remnant has an excellent provenance, is associated with a powerful personal narrative, and is significant and rare item relating to history of the Wiener Werkstätte in Vienna, and the oeuvre of Matilda Flögl. Ann Carew 2016Remnant of a block-printed silk fabric used to make the bedspread for Karl Duldig and Slawa Horowitz-Duldig's bed in Vienna. -
National Wool Museum
Sample, Textile
Fred Murgatroyd's twed fabric to be used in conjunction with Nino at Foster Valley for Loom in G2textile industry textile mills, foster valley mill pty ltd valley worsted mill, tweed, murgatroyd, mr fred, textile industry, textile mills -
National Wool Museum
Sample, Textile, "Alexana"
"Alexana"/ 90%wool 10% mohair/ exclusive fabric/ by ALEXANDER LAUtextile design fashion textile industry - history, alexander lau pty ltd, lau, mr alexander - alexander lau pty ltd, textile design, fashion, textile industry - history -
National Wool Museum
Sample, Cloth
Sample of 60% wool blend "7544" upholstery fabric supplied by Macquarie Textiles from the Winter 1997 range.Sample of 60% wool blend "7544" upholstery fabric supplied by Macquarie Textiles from the Winter 1997 range.textiles - upholstery, macquarie textile group limited -
National Wool Museum
Sample Book, Palmer 9 oz. Napped Suiting
Textile sample book owned by Ernest Waddington and containing samples of mens suiting in heavy dark fabrics with a nap.PALMER / 9 oz. Napped Suiting Ernest / Waddingtonweaving, raising -
National Wool Museum
Book, cloth sample
Cloth sample book of Botany Certified Fabrics contains 36 different coloured cloth samples, part of Collins Bros collection.weaving mills, botany worsted mills -
National Wool Museum
Sample, Cloth
Sample of the mix and match fabric introduced by Mr Fred Moylan (who later purchased a mohair farm).textile mills history, weaving, moylan woollens company, moylan, mr frederick halcomb a.m., textile mills - history -
National Wool Museum
Book, Cloth Sample, Cumberland "Light kid mohair"
A cloth sample book, containing samples of Cumberland "light kid mohair" suiting fabric.textile design, cumberland, cloth - worsted, mohair