A wool rug with a hessian backing. It has a red and white striped pattern in the middle, with brown triangular shapes at the sides. There are brown and white stripes yellow flowers and green leaves around the edges.rugs, floor rugs, textiles, household textiles

Off-white wool yarn, possibly from the batch used to make the black and white National Wool Museum rug presented to Queen Elizabeth II in 1988.Off-white wool yarn, possibly from the batch used to make the black and white National Wool Museum rug presented to Queen Elizabeth II in 1988.weaving, spinning

This wooden proddey has a rounded handle and a cone shape with a point at the bottom. It is used for making rag rugs. The wood is discoloured at the pointed end, indicating that is has been used. The tool is part of the W.R. Angus Collection. Traditionally, in the 18th and 19th centuries, rag rug making was a domestic craft. Old or worn-out fabrics and clothing would be cut into strips then proddey would be used to poke the strips through a woven backing fabric. The fabrics were re-purposed and the rugs provided warmth or protected the floors from fluids or dirt.The proddey is an example of a tool used for rag rug making, in the 18th and 19th centuries. The handcraft returned to popularity in the early 20th century. W.R. Angus Collection is significant for still being located at the site it is connected with, Doctor Angus being the last Port Medical Officer in Warrnambool.Proddey; teardrop or conical shape, light-coloured wood, used for rag rug making. Tool has a rounded handle and is decorated with two scored lines around the top of the cone. Part of the W.R. Angus Collection. Dr Angus lived and worked in Warrnambool with his family from the 1930s to the 1960s. He was the last doctor to pe appointed as a Port Medical Officer. He and his wife were actively involved in the local community. He enjoyed several pastimes, such as billiards, weaving, pastel drawing and rag rug making.warrnambool, shipwreck coast, flagstaff hill, flagstaff hill maritime museum, flagstaff hill maritime village, hand craft, homemade, rag rug, rug making tool, proddie, recycled fabric, cottage craft, 18th century, 19th century, handmade, floor mat, mat, rug, w.r. angus, craft, handcraft, recycle

This rug was a gift and gesture of friendship from the local Muslim community to the City of Greater Bendigo. It was presented to Mayor, Cr Rod Fyffe on behalf of the people of Bendigo at a 2016 'Thank You Bendigo' dinner. In 2014 approval for a planning application from the Bendigo Islamic Association to build a community centre and mosque in East Bendigo prompted a series of public protests that captured widespread media attention. During this tumultuous period the Council identified the need for a community-wide plan to promote diversity and help address potentially divisive cultural issues. These events led to the COGB becoming the first local government area (LGA) formally accredited under Australia’s Welcoming Cities Standard. Community leaders emerged who wanted to show that the anti-mosque protesters did not reflect the views of the majority of Bendigo residents. The community lead ‘Believe in Bendigo’ movement gained momentum, and the Council and other local organisations joined forces to present a unified message that Bendigo residents do not tolerate racism. Muslims have made Central Victoria their home since the Goldrush, contributing to the community and the economy for the past 120 years. Traditional Islamic rugs, especially their patterns and motifs are intrinsically linked with the design of the Bendigo Mosque and Bendigo Islamic Community Centre providing important points of reference for the architects of the project. Typically, mosques are linked with specific cultural groups but not in the case of Bendigo where the Muslim community is made up of multi-ethnic groups. This meant the building's design was not fixed to a specific style or cultural iconography but instead needed to encompass many. The small local Muslim community selected a specific Australian architect because of their interest and knowledge of Islamic design and iconography gained through family collection of Islamic textiles. In thinking about the design of the mosque and community centre the architects wanted to acknowledge the role of Afghans in Australian history, especially tribal Afghans who helped build connections across the interior of Australia between First Nations communities, European settlers and Central Asian migrants. The gift of this Turkmen rugto the Bendigo community thus symbolises collaborative partnerships across faith and cultural groups based on friendship and mutual benefit. A Turkman rug was specifically chosen as it is the pinnacle of nomadic arts of the Islamic world. It was also important to the architects and the local Muslim community that the gift was a female artistic product as it was mainly a female Muslim architecture team that designed the mosque in Bendigo and there was a desire to select something that celebrated female artistry. This hand-woven rug is an engsi, made for a woman in preparation for marriage. Design work and weaving is a shared experience, between many generations of women and each rug hold the personal story of the woman it is made for and her family and thus holds deep symbolic meaning. There are often songs and poetry that are recited as the rug is made – helping the makers to memorisze the mathematical structure of the design. An engsi is put on the doorway to a yurt as part of a wedding ceremony. During the ceremony the groom turns the engsii upside down to check the quality of the rug makers weaving skills. The nomadic lifestyle of Yomut Turkman tribes determines the size of the rug as the loom can’t be carried. Its size is also restricted by the dimensions of the doorway of the yurt. This rug is dated as c 1880 because of the types of patterns used, the use of natural dyes (synthetic dyes were introduced to the area in 1890s) and with the smoother weaving on the back indicating the quality of craftsmanship dating to this time period. The Yomut engsi rug was made in Turkmenistan c1880 by Yomut Turkmen Tribes people and is designed to fit over the doorway of a yurt during a wedding ceremony. The main field motif is related to Turkoman jewelery design. The women and girls of the tribe spin the wool and design and weave the rugs. The men shear the sheep, dye the wool and clip the rug after it has been woven. The word “Turkoman” is thought to have been derived from Turk-iman, meaning the first nomadic Turkic tribes that began to follow Islam. Dyes used are natural including orange from madder root. bendigo mosque, bendigo islamic association, city of greater bendigo community partnerships, city of greater bendigo community groups

Blanket label from the RSS Mill, Geelong.Rug label from an RSS Mill rug.THE / Lamonttextile mills, returned soldiers and sailors mill, label, 1918: australians in france - exhibition (19/02/2000 - 30/04/2000)

Blanket label from the RSS Mill, Geelong.Rug label from an RSS mill rug.THE / Douglastextile mills, returned soldiers and sailors mill, label, 1918: australians in france - exhibition (19/02/2000 - 30/04/2000)

Blanket label from the RSS Mill, Geelong.Rug label from an RSS Mill rug.THE / Cunninghamtextile mills, returned soldiers and sailors mill, label, 1918: australians in france - exhibition (19/02/2000 - 30/04/2000)

Blanket label from the RSS Mill, Geelong.Rug label from an RSS Mill rug.THE / Colquhountextile mills, returned soldiers and sailors mill, label, 1918: australians in france - exhibition (19/02/2000 - 30/04/2000)

For the First Peoples of south-eastern Australia, making possum skin cloaks has long been a culturally important practice. But during the late nineteenth and early twentieth centuries, possums and other native animals were also heavily hunted by white colonists who coveted their warm and fashionable furs. This rug, made from fifteen possum pelts, was used in a Brighton home during cold winter months in the 1920s.Possum skin rug made from 15 rectangular cut pelts mounted onto a brown wool felt with cut scalloped edges. possum skin, rug, fur, 1920s

The object was presented to Brintons Carpets in 1999 as a thankyou gift for ongoing support along with one 'The Egyptian' Rug.W7186 Page 1 of a history of Brintons Carpets. Page 2 of a history of Brintons Carpets. A list of catalogues/items in the Brintons Collection donated after closure of Fellmongers Road factory in July 2008.To all at Brintons Carpets to thank you for your ongoing support of the National Wool Museum February 1999 E.Triarico Curator Michael Jerinic Old Weaver Andrew Moritz Director Bill Vos x Brintons Weaver 1960 Annette Welkamp Pharaohs Project Manager National Wool Museum Rug The Egyptian A unique wool rich product Certificate of Authencity This is to certify that Brintons Carpets is the owner of a National Wool Museum Limited Edition Rug No. 106.national wool museum brintons australia pty ltd, triarico, ms elizabeth - national wool museum moritz, mr andrew - national wool museum, geelong, victoria

Rug display

Lady at rugs stall

The photograph taken by either Reverend or Mrs Weller depicts the interior of the Manse: sofas, rugs, artworks on the walls, and a barrister stacking bookshelf.chaplain, manse, sofa, bookshelves, rugs, wood floor, reverend john reginald weller (1880-1969), weller album

Product label in tones of red, green, yellow and white showing printed text and a graphic of a sheep. front: [printed] THE LARA / WOOL RUG / MANUFACTURED BY / THE ALBION WOOLLEN MILL CO. / GEELONG, VICTORIA. / No. / WEIGHT / SIZEalbion mills, archives, wool industry, blankets, rugs, products, advertising, geelong, packaging, label, graphic design

Product label in tones of red, blue and yellow showing printed text and a graphic of sheep under a gum tree. front: [printed] NO RUG TO EQUAL / THE / TRADE MARK REGISTERED / Ba-Ba / RUG / GUARANTEED / ALL WOOL / ABSOLUTELY THE BEST / FOR / WARMTH / WASHING / WEARING / & HEALTH / MADE FROM / PURE / AUSTRALIAN WOOL BY AUSTRALIAN MILLS / No. A W / Size: 72 x 60 / Weight lbsalbion mills, archives, wool industry, blankets, rugs, products, advertising, geelong, packaging, label, graphic design

'made' by local Country Women's Association especially for the restored cottage.Large multi-coloured rag rug.domestic items, floor coverings, handcrafts, rug making

Product label in tones of red, green, yellow and gold showing printed text and a graphic of a sheep. Hand written blue text is shown on the back. front: [printed] THE WERRIBEE / PURE MERINO / WOOL RUG / MANUFACTURED BY / THE ALBION WOOLLEN MILL CO. / GEELONG, VICTORIA. / No. / WEIGHT / SIZEalbion mills, archives, wool industry, blankets, rugs, products, advertising, geelong, packaging, label, graphic design

Product label in tones of red, green, yellow and gold showing printed text and a graphic of a sheep. front: [printed] THE CORIO / PURE MERINO / WOOL RUG / MANUFACTURED BY / THE ALBION WOOLLEN MILL CO. / GEELONG, VICTORIA. / No. / WEIGHT / SIZEalbion mills, archives, wool industry, blankets, rugs, products, advertising, geelong, packaging, label, graphic design

Product label in tones of red, green, yellow and white showing printed text and a graphic of a woman, lion, ship, wool bale, shield and pitch fork. front: [printed] ALBION MILLS, GEELONG / THE GEELONG / PURE WOOL RUG / MANUFACTURED BY / THE ALBION WOOLLEN MILL CO. / GEELONG, VICTORIA. / No. / WEIGHT / SIZEalbion mills, archives, wool industry, blankets, rugs, products, advertising, geelong, packaging, label, graphic design

Product label in tones of blue and white showing printed text and a graphic of a woman, lion, shield and pitchfork. front: [printed] ALBION MILLS GEELONG / The . . / BARWON RUG / GUARANTEED / ALL WOOL / No. / Weight / lbs. Size 72 x 60 / MERCER PRINT GEELONGalbion mills, archives, wool industry, blankets, rugs, products, advertising, geelong, packaging, label, graphic design

Craftwork was very popular c1950 and these crochet circles, like roses, in pink, blue, and white wool may be sewn together for a light baby wrap Craftwork, Crochet, Knitting and Sewing were all popular in post World War 11 Moorabbin as the new settlers established their homes on the previous market garden estates. Crocheted pink, blue, white wool circlet roses for a rug or baby wrapormond theatrical society, mckinnon, bentleigh, moorabbin, reed gladys, clark judy clothing, actors, early settlers, post world war 11 estates, knitting, crochetwork,

Product label in tones of cream, red and maroon showing printed text and a graphic of a woman, lion and shield. front: [printed] THE VICTORIA RUG / ALBION MILLS GEELONG / SUPER ALL WOOL / MANUFACTURED BY THE / ALBION WOOLLEN MILLS CO. / PTY. LTD. / GEELONG, VICTORIA / NO. / SIZE, 72 X 60 / WEIGHT LBS.albion mills, archives, wool industry, blankets, rugs, products, advertising, geelong, packaging, label, graphic design

Product label in tones of red, blue and grey showing printed text and a graphic of a woman, lion, shield and pitch fork. front: [printed] The Autolux / RUG / SUPER ALL WOOL / MANUFACTURED BY / ALBION WOOLLEN MILLS / CO. PTY. LTD. / GEELONG . . . VICTORIA / Size 72 x 60, Weight 4 lbs. / ALBION MILLS GEELONGalbion mills, archives, wool industry, blankets, rugs, products, advertising, geelong, packaging, label, graphic design

From the Chapman family photograph albumBoy infant in white dress, barefoot on floral cushions on chair with crochet rug to side. Stawell Photographic Co. Close Railway Station C. Hewitt Manager

Persian type rug, allegedly from Fortuna Villa. Rug has Aztec type design in blue, navy, orange, cream and beige colours. Woven from silk and hemp type material. Fringed on top and bottom. 1908 manufacture ?bendigo, house, fortuna villa

Photograph - Sepia. Portrait of a baby,wearing a white lace outfit, placed on a fur looking rug.Bartlett Bros. - Sandhurst.person, individual, baby portrait, photograph. unknown family. portrait of a baby.

“Between the devil and the deep blue sea!” is a special work to me for different reasons. It was my first experience ever working with textile, and it was my first major artwork that I made and exhibited in Australia. I moved to Australia in 2011 and lived in Perth for 5 years before I moved to Melbourne in 2016. I didn’t have a chance to make many artworks when I was living in Perth and it was mainly because I needed to work full time in order to afford the living costs. Melbourne was totally different though. I moved to Melbourne after I was awarded Australian Postgraduate Award (APA) to study my PhD at RMIT University. This was a fantastic opportunity for me, not only because it helped me financially, but also because it gave me the opportunity to develop my practice and research experience. Being new in Australia and Melbourne though, I needed to familiarise myself with the art community in Australia and find ways that I can introduce myself and present my art. I knew that exhibiting in Australia will be challenging and I thought I can start with looking for opportunities like group shows and awards. The Wangaratta Contemporary Textile Award was the very first one that I applied for and it was definitely a great starting point for me. It gave me the confidence to look for other opportunities and that my decision for working with the material and methods that I had no previous working experience with, was a right one. Between the devil and the deep blue sea! is about a dilemma. A dilemma where on one side there is all the memories of the past, home, family, and friends. Everything that was once a life and now is only a memory. There is the threat of death, terrorism and violence and there is no hope for a better future. On the other side, there is a better chance for staying alive, but there is nothing clear about the future. Where you go and what you will be called; A terrorist? Or someone that is there to take the jobs and money!? We are watching the news and seeing tragic accidents happening all over the world every day, but what makes us indifferent to the suffering of others was something that I became interested to learn more about it. From the beginning of my project, I was interested in discovering more about the notion of indifference and that came from my own position as an observer. I am an Iranian living in Australia. On the one hand, I am observing wars and conflicts in the Middle-East from a distance and on the other hand, from not much a distance! I am living in Australia with a great distance from the Middle-East in terms of the geographical distance and the differences in socio-political situations. On the other hand, and despite Iran’s current safe situation, there is no guarantee for a stable peace in the future. Being not here nor there, I am an observer who won’t be in peace in peaceful Australia, and can’t feel the depth of the pain for people living in war-torn countries such as Syria and Iraq. The indifference phenomena can be studied from different disciplines, however, there can not be a simple and unique explanation for its cause. Regardless of different explanations for the causes of the indifference, what I am most interested in is to explore the ways I can show the “indifference” itself. For this, I seek to focus on my simple interpretation of the phenomena, which in my mind is “seeing tragedy, not tragic.” In other words, whether the indifference is caused by information overload, or distance from the sufferer for example, people don’t feel the pain and can’t understand the conditions others in pain are experiencing. Based on this explanation, the focus of my artworks is to depict and highlight the contradiction between the pain and the indifference. In my art practice, I often use colourful and attractive materials in combination with a visual language that reference to the aftermath of tragic events of wars, to provide a symbolic representation of indifference in the form of an artwork. This is my artistic approach in explaining the notion of “indifference”, that can illustrate my ideas around “seeing tragedy, not tragic”. to give voice to my own concerns and position as an Iranian artist, I am interested in utilising visual elements from traditional arts of Persia and the Middle-East. In selecting rugs and fabrics that I use in my artworks, the weaving quality is not my concern. Moving beyond this, I am looking for features which express and underpin concepts such as antiquity, resistance, simplicity, and peace which sit in stark contrast to the terrorising and militant image of Middle Eastern people portrayed by the mainstream media. Nowruz (Persian New Year) 21 March marks the Persian New Year and the first day of spring in Iranian calendar. It’s the time of the year when all Iranians and many other Farsi speaking nationalities (Afghans, Tajiks, etc.) celebrate together. My wife and I are planning a trip to Iran for the new year holidays and it would be our first time to celebrate the new year with family and friends in Iran since 2011. It is believed that Nowruz has a long history of around 3,000 years and is rooted in Zoroastrianism, an ancient Persian religion that predates both Christianity and Islam. Every year Iranians celebrate this very special event at different times and it’s because the exact time of the new year depends on the exact calculation of when the length of the day and the night are equal. There are many things about the Persian new year to be excited about and sitting around the Haft-Seen table (7sin) with family is with no doubt the most exciting one. Haft-Seen is a set of seven symbolic elements beginning with ‘S’ in Farsi that Iranians arrange them together to decorate a table that family sit around and celebrate the beginning of the new year. The most common items found in Haft-seen decoration are: Sabzeh: Wheat, barley, mung bean or lentil sprouts growing in a dish, Samanu: Sweet pudding made from wheat germ, Senjed: Dried Persian olive. Seer: Garlic Seeb: Apple Somāq: Sumac Serkeh: Vinegar Sekkeh: Coin that symbolise health, wealth, abundance, etc.Wangaratta Art Gallery Collection, Acquired with the assistance of Robert Salzer Foundation.A used Persian Rug that has had a motif of two heads and an explosion hand-stitched onto it.mohsen meysami, textile, rug