Geelong is famous for its bollards. Created by local artist Jan Mitchell, the colourful bollards spot the foreshore, representing a fascinating and fun chronicle of the city’s past. Few people know that Mitchell planned for a flock of sheep to be part of her public art project. The wool industry is an important part of Geelong’s history, so Mitchell thought what better than a flock of sheep to welcome people to the city. The flock (and a Shepard) were to be placed out on the Melbourne-Geelong highway, near Lara, to welcome travellers to the city. The sheep would then be scattered along the road as a wayfinding signal to bring people to Geelong. When traffic authorities heard the plan for bollard sheep along the road, they squashed the project as a potential distraction for drivers. Another flock was also suggested for the hills of the eastern gardens, overlooking the bay. This was also disapproved; so Mitchell only ever partially completed four sheep bollards. The bollards are remnants of Jan Mitchell’s flock of sheep. The sheep also show the evolution of one of Geelong’s most iconic art installations. From the first sheep showing the raw timber of the old Yarra Street pier, to the sheep without a face, through to the completed sheep, it is possible to trace Mitchell’s process in the preparation of the bollards. The lost bollards form part of the National Wool Museum’s unique collection. The first bollard is the least complete, still in its original timber colour. From the central cylindrical shape, an additional wedge protrudes. This unpainted wedge forms what would have been the face of the sheep, with an ear present on either side that would have been painted white. Presently they are a bare metal. No legs are present on this bollard. The second and third bollard are completed to a similar level. They have a central cylindrical shape with an additional wedge protruding from the front of the timber. This wedge forms what would have been the face of the sheep, with an ear present on either side. The face and ears have been painted white but the finer details such as the eyes have not been added. These bollards bodies have also been painted white and have their legs attached. The legs are thin metal cylinders, approximately 50mm in diameter and 500mm long. The fourth bollard Is complete. It has the same central cylindrical shape with an additional wedge protruding from the front of the timber. This wedge forms the completed face of the sheep, with an ear present on either side that has been painted white. The face also features completed painted eyes. This bollard has its legs attached. The legs are thin metal cylinders, approximately 50mm in diameter and 500mm long. geelong, bollards, geelong's bollards, jan mitchell

This coat was produced from wool first shorn in c.1928. In 1928 Mr Mal Groves took over the Dutchman Station near Port Augusta in South Australia. Whilst out riding in some rough country he came across a sheep that had been left by the previous owner of the station. As he carried shears with him, he sheared the sheep and left the fleece rolled up and partially covered by rocks and wood, as he had no bag to carry it back with him. He intended to come back for the fleece, but forgot about it until he came across it some forty years later. It was still in good condition (despite having experienced extreme temperatures and rainfall whilst in the open), so he showed it to Elders who arranged to display it at agricultural shows in Adelaide, Melbourne and Geelong. The Gordon Institute of Technology, Geelong, offered to spin the fleece into a fabric and make a coat for Mrs Groves. The fabric was tailored into a coat by Lindsay and McKenzie of Geelong and presented to Mrs Groves in July 1968 by the South Australian manager of Elder Smith Goldsbrough Mort Ltd. It is not know how the coat came to Elders from the Groves family, but Elders displayed the coat under the heading "The Fleece That Would Not Die" before donating it to the National Wool Museum in 1997. A video giving the history of the coat and a text panel used by Elders were also donated at the same time.Coat, brown wool. Long sleeves, knee length with three circular brown buttons and two external pockets. Lined in brown satin, with a blue and red label at the base of the collar.Wording: Solo;Method: Embroidered;Location: Label at base of collar, inside coat Wording: PURE WOOL;Method: Printed;Location: Label on side seam, inside coatfashion wool - characteristics wool processing textile mills textile mills, lindsay and mckenzie elders limited gordon technical college, royal adelaide show - exhibition (31/08/2001 - 08/09/2001), groves, mr mal groves, mrs, dutchman station, south australia, fashion, wool - characteristics, wool processing, textile mills

Thousands of volunteers work tirelessly to conserve and protect the environment of Geelong and the Bellarine. Their work often goes unnoticed. In 'The Work of Nature' the National Wool Museum and the Environment Department at the City of Greater Geelong worked with photographer Nicole Marie to showcase the significant contribution of environment volunteers in our region. Each of the eight people showcased in these portraits were nominated by their peers and members of the community for their significant contribution to conserving and protecting the environment. Trevor Prescott - Geelong Field Naturalists Club From his earliest years, Trevor Pescott has been fascinated by nature. In 1961, he was part of an active group that re-established the Geelong Field Naturalists Club. And in the 1970s he was also one of the founding members of the Geelong Environment Council. For more than half a century he has been a passionate advocate, observer and chronicler of Geelong’s changing environment. Since 1960, he wrote the weekly column “By Field and Lane” in the Geelong Advertiser. He has written several books on nature in the Geelong region, including Birds and Botanists: A Field Naturalists History of Geelong. He remains passionate about the flora and fauna of the Geelong region organising fauna surveys every month as member of the Geelong Field Naturalists Club amongst many other activities. Photo at Trevor’s Belmont home by Nicole Marie.Image showing an environmental portrait of a man holding a book with trees in the background.environment, conservation, portraits, geelong, nature, exhibition, work of nature, geelong nature forum, volunteers

Thousands of volunteers work tirelessly to conserve and protect the environment of Geelong and the Bellarine. Their work often goes unnoticed. In 'The Work of Nature' the National Wool Museum and the Environment Department at the City of Greater Geelong worked with photographer Nicole Marie to showcase the significant contribution of environment volunteers in our region. Each of the eight people showcased in these portraits were nominated by their peers and members of the community for their significant contribution to conserving and protecting the environment. John Fyfe - Friends of Edwards Point, the Bellarine Catchment Network and many more For over twenty years John Fyfe has been actively involved in all areas of restoring native vegetation on numerous locations throughout the Bellarine. John’s passion for caring for the environment and sharing his vast knowledge has earnt him wide respect from the community. John is not only approachable but a great communicator. His vast knowledge has made the go to person for help on support on all matters regarding revegetation. John introduced direct seeding to the Friends of Edwards Point team, which has been successful on numerous sites within Edwards Points Reserve. The approach has been adopted throughout the reserve. Reflecting on John’s impact to the local community, local residents widely refer to him as a “living legend,” while others simply say, “there should be more John Fyfe’s in the world.” Photo at Edwards Point Wildlife Reserve by Nicole Marie.Image showing an environmental portrait of a man standing in grasslands with trees in the background.environment, conservation, portraits, geelong, nature, exhibition, work of nature, geelong nature forum, volunteers, edwards point

John Griffin’s wool classing exercise books from 1941-1943 when he was a student at the Gordon Institute in Geelong. John and his father John Henry Griffin owned a farm in Dunkeld and bred fine merino wool. One year they topped the wool sales figures for the area, in the late 1940s. There are four books in total. One book is on the topic of Veterinary Science and is from 1941. It contains information on topics such as birth and early lamb life, bone structure and other internal organisms of a sheep, such as the heart. Another book is on Wool Classing with topics such as wool scouring, dipping, shearing and micron counts. The third book is on general shearing shed knowledge. This includes a diagram for rolling a fleece, correct method for stamping a wool bale and branding abbreviations. The final book is on the History the Merino Sheep. It is a long form essay answer booklet. The Gordon institute and wool are synonymous with one another, the first class in wool sorting was offered at the Gordon in 1891. With much of the wool clip sent directly to England at this time, The Gordon's focus soon shifted to wool classing and marketing. By the 1930s, The Gordon's wool school was renowned as the state's wool industry training centre. Early specialist short courses were offered around Victoria to assist wool growers in preparing their clip for market, with modules on sheep breeding and pasture development included in the programs. Anne Griffin’s, John’s daughter, donated the exercise books to the National Wool Museum in 2021. Book 1 is predominately blue circular cover with cream background. Middle of book has pink highlighter mark. Reverse of book has an Arithmetical Table and a Multiplication Table in a blue ink on cream paper. It also has four black ink markings Book 2 is predominately blue circular cover with cream background. Book has red tape across the spine. Reverse of book has an Arithmetical Table and a Multiplication Table in a blue ink on cream paper. Book 3 is predominately blue plaid cover with cream background. Middle of book has pink highlighter handwriting which has been crossed with the same colour, leaving the text unreadable. Reverse of book has an Arithmetical Table and a Multiplication Table in a blue ink on cream paper. Book 4 is predominately blue diagonal striped book with cream background. Middle of book has small picture of Australia. Reverse of book has an Arithmetical Table and a Multiplication Table in a blue ink on cream paper. Book 1. Front cover: “All Schools” / EXERCISE BOOK / NAME Jack Griffin Grade Gordon Institute School of Technology(?) / Approved by the / Education Department Back cover. Reverse. ARTHMETICAL TABLES / (Numerous, see media) Book 2. Front cover: 2nd & 3rd / “All Schools” / EXERCISE BOOK / Name Jack Griffin / Grade 2 / School the Gordon / Approved by the / Education Department Back cover. Reverse. ARTHMETICAL TABLES / (Numerous, see media) Book 3. Front cover: Embassy / EXERCUSE BOOK / Name John Griffin / Grade 1 / School (?) / APPROVED BY THE EDUCATION DEPARTMENT / Back cover. Reverse. ARTHMETICAL TABLES / (Numerous, see media) Book 4. Front cover: EXERCISE / APPROVED BY EDUCATION DEPT. / BOOK / NAME Jack Griffin / GRADE 3 / SCHOOL Gordon Back cover. Reverse. ARTHMETICAL TABLES / (Numerous, see media) gordon institute geelong, wool classing, 1940s sheep farming, note book, study, student

Cloth sample from an opera cloak made in England c. 1820 from wool clipped from Macarthur's merino sheep in 1816. The cloak was passed down through the family to Harold Lethbridge with whom the main part of the cloak resides, in Narrandera. The fragment was passed to Lethbridge's niece who gave it to the donor's mother who passed it onto him and then it was donated to the National Wool Museum. The cloth fragment was tested by Gordon Institute of Technology in 1974 showing the wool to be very fine (15-16 microns) which is consistent with the pure lineage of Macarthur's sheep. The cloth fragment was framed in 1952 and remains in the original frame to this day. Cloth sample form an opera cloak made in England c. 1820. Wool for the cloak was clipped from John Macarthur’s merino sheep in 1816. Macarthur is recognised as the pioneer of the wool industry that was to boom in Australia in the early 19th century and become a trademark of the nation. Macarthur was responsible for the first bale of Australian wool to be exported. The British woollen mills were desperate for wool at the time because of the Napoleonic blockade, and the Australian bale sold for a record price. Australia needed a product to sell in European markets which did not perish during long sea-voyages and which offered high value per unit of weight. Wool also had a ready market in England because the Napoleonic Wars had increased demand and cut English cloth-makers off from their traditional source of quality wool, Spain. Australia's first $2 banknote featured John Macarthur thanks largely to his establishment of wool as the backbone of the early Australian economy. Red fabric sample folded in half and mounted in the centre of a brown metal frame.'ARCO' MADE IN ENGLANDmacarthur, wool industry, australian economy

Norma Dessent (the donor) was cleaning out her Mother-in-law Amy Dessent’s home, after she passed away in 1995. She came across a collection of gunny sacks for chicken feed, potatoes, and flour. Norma gave the bags to her good friend Beryl Andersen, thinking she might be able to make use of the material in her quilting. Many years later in 2001, Beryl gave Norma this quilt made in a wagga style out of the bags. This was both a great surprise and a great delight for Norma. Amy Dessent was a housewife. Her chickens were her friends, keeping her company as she worked in her renowned garden and while she cooked and maintained a beautiful home. Typically, Amy would have a dozen chickens clucking around at a time. In the style of the time, everything was kept for a possible repurposing later in life, such as these gunny sacks. The Chicken Feed Wagga was created in Ballarat by Mrs Beryl Andersen. Beryl was the inaugural president of the Hamilton Quilters Guild and is a well-known quilter. Perhaps her best-known work was the “Quilt for Hope”, a living memorial for victims of institutional church-related sexual abuse. More information about this quilt can be found on the following link. https://www.nationalquiltregister.org.au/quilts/quilt-of-hope/). The wool blanket used as a backing belonged to Beryl’s mother. Beryl’s mother married in 1930 and the blanket is thought to have been a present from this wedding, making the blanket close to a century old. Norma donated the quilt to the National Wool Museum in 2021 as a result of downsizing. She no longer had room for the quilt to hang on her wall. Before downsizing, the quilt had hung in the entryway to her home for the last two decades.Wagga style quilt made with a appliqué top layer of gunny sacks that once held chicken feed, flour, and potatoes. The insulating internal material is not known. The backing fabric is made from a cream woollen blanket. The edges are bound with a material of a red and white plaid. The gunny sacks are quilted together with a machine stitch of red thread. The sacks contain imagery pertaining to their previous use. Some sacks have an image of a chicken applied with blue, red, or green ink. Other sacks contain imagery of potatoes. While other sacks contain information “Minimum Crude Protein 14%, Minimum Crude Fat 3%, Maximum Crude Fibre 7%”. One of the sacks shows a handwritten price for a bag of chicken feed in a red ink.Numerous. See multimediaquilts, wagga, gunny sacks, upcycle

This receipt is for a fox fur coat made in Melbourne in 1950 by Nettlebergs. It is associated with the fox fur coat in the National Wool Museum Collection, NWM-9090. "The foxes were shot in the 1950's by my Father, Charles Winnet Daniel Allen at two properties around Bacchus Marsh. One was Greystones at Glenmore, owned by the O'Keith family and the other was at Parwan, owned by the Miles Family. In the late 1940's and early 1950's, the Government put a bounty on the fox head. A pair of ears were sent to the Council and you were paid 2 pennies and the skins were sold to a skin buyer. My Father would go out on moon lit nights and shoot the foxes then skin them, which he would peg on a board to dry. He took 21 fox skins to Nettlebergs Pty. Ltd., Furriers at 173 Elizabeth Street Melbourne, Victoria, to have this coat made for my Mother, Gladys Eileen Allen. It cost Twenty Pound and Nine Shillings to have the skins made into this coat. My Father died on the 1st July 1982 and my Mother on the 15th October 1993, aged 76. This coat was inherited by me Theresa Joy Hodge (nee Allen) on the passing of my Mother. I have worn it on cold days, but seeing that I am 84 and the coat is 74 years old, I would like to donate it to you, as I have no-one to leave it to and hope that you and the visitors to your Museum will enjoy looking at it." Theresa Hodge, 2025 Theresa was a dairy farmer, who grew up in Bacchus Marsh with her parents, before moving to South Australia in 1980 to a 167 acre farm in Burrungale.Single sided paper receipt with black printed text and handwritten text in pencil.front: [printed] No. A / 2 / Telephone: MU 2913 / NETTLEBERGS Pty. Ltd. / The Premier Furriers of Australasia / 173 Elizabeth Street, Melbourne / Not Responsible for Goods left over Six Months / We do not hold ourselves responsible for loss by Fire or Burglary, / but every precaution is taken. / 19 / M / Every care is taken, but we cannot accept any responsibility in tanning and dying skins, / as they are done at Customer's own risk. front: [handwritten] 29 ? / Deposit £10 / Bal £20/9 / C. W. A. 20/7/50 / Mrs Allen / 21 fox skins dress pelts / dark brown + make / coatfox fur coat, fashion, hunting, pest eradication, farming, rural life, bacchus marsh, greystones, glenmore, parwan, fox, nettlebergs pty ltd, furriers, clothing, theresa hodge, charles allen, gladys allen

This photograph shows Theresa Joy Hodge wearing the fox fur coat her father made, which is now part of the National Wool Museum Collection, NWM-9090. "The foxes were shot in the 1950's by my Father, Charles Winnet Daniel Allen at two properties around Bacchus Marsh. One was Greystones at Glenmore, owned by the O'Keith family and the other was at Parwan, owned by the Miles Family. In the late 1940's and early 1950's, the Government put a bounty on the fox head. A pair of ears were sent to the Council and you were paid 2 pennies and the skins were sold to a skin buyer. My Father would go out on moon lit nights and shoot the foxes then skin them, which he would peg on a board to dry. He took 21 fox skins to Nettlebergs Pty. Ltd., Furriers at 173 Elizabeth Street Melbourne, Victoria, to have this coat made for my Mother, Gladys Eileen Allen. It cost Twenty Pound and Nine Shillings to have the skins made into this coat. My Father died on the 1st July 1982 and my Mother on the 15th October 1993, aged 76. This coat was inherited by me Theresa Joy Hodge (nee Allen) on the passing of my Mother. I have worn it on cold days, but seeing that I am 84 and the coat is 74 years old, I would like to donate it to you, as I have no-one to leave it to and hope that you and the visitors to your Museum will enjoy looking at it." Theresa Hodge, 2025 Theresa was a dairy farmer, who grew up in Bacchus Marsh with her parents, before moving to South Australia in 1980 to a 167 acre farm in Burrungale.Colour photograph showing an interior view of a woman wearing sunglasses and a fox fur coat. She is standing in front of a doorway, and beside a dresser which has a mirror, ornaments and a photograph.back: [handwritten] 1995 Winter / Theresa Allen back: [printed] Kodak / Official Sponsor / of the / Olympic Gamesfox fur coat, fashion, hunting, pest eradication, farming, rural life, bacchus marsh, greystones, glenmore, parwan, fox, nettlebergs pty ltd, furriers, clothing, theresa hodge, charles allen, gladys allen

In 2020 during the period of lockdown due to COVID the National Wool Museum asked their volunteers to make and donate blocks made from a variety of materials found in their homes, for an ISO quilt. The NWM reached out to the patchwork and quilter community to find a local quilter to sew the donated blocks together. The quilt is sewn together and quilted by Judith Oke, 2020-2021. Judith is a local patchwork and quilter and a member of Geelong Patchwork & Quilters Guild. Through the process she was inspired by the tradition of wagga quilts, where bits and pieces are stitched together, sometimes lined with whatever the sewer found available, such as clothing and sacking, to provide warmth. In construction of the finished quilt the challenge was combining 10 inch blocks made from a variety of materials, with uneven sizing. The aim was to combine these very different blocks into a harmonious whole. To this end a light and dark pattern was planned, with the blocks to be sewn onto a blanket. The choice to layer the blocks over each other, rather than sew an even seam was aimed at emphasizing the make do nature of these ISO blocks. Due to the weight of the blanket a decision was made to sew the blocks onto a base before the whole was stitched onto the blanket. The blanket was sourced from NWM donations. The rich, red of the blanket provides a bright, warm background for the colourful squares. Some of the light weight blocks were backed with iron-on interfacing to strengthen them for sewing. The edges of two of the woven squares were blanket stitched with knitting wool. The 10 inch donated blocks/squares were machine sewn to a cotton sheet base, with liberal use of blanket stitching, as the blanket was too heavy to sew the blocks directly onto the blanket. The base with squares was then machine sewn onto the red blanket backing.Various multi coloured and designed patchwork squares sewn onto a red woollen blanket. isolation, covid, quilt, wool

This jacket is by the prolific spinner and weaver Jean Inglis. It has been woven with a warp of commercially brought wool & a weft of hand spun Corriedale. It is completed in a Swedish lace style of weaving. The highlight of the jacket is the blue section of fabric on the top left shoulder of the wearer, which works down to the bottom right hip. This pattern looks like long thin individual separate sections of fabric stitched to the jacket; however, only one section of fabric has been added. A dying technique has been utilised to give the appearance of multiple sections. This Japanese dyeing technique is called Shibori, “to wring, squeeze or press". It is a manual tie-dyeing technique, which produces several different patterns on fabric. The specific pattern on this fabric is known as Kumo Shibori. It utilises bound resistance. This technique involves folding sections of the cloth very finely and evenly. Then the cloth is bound in very close sections. The result is a very specific spider-like design. This design requires very precise technique. Specific to this jacket, the fabric for the dyed section was made with the same fabric as the rest of the jacket. A section of the excess fabric was concertina wrapped around a 100mm pipe and tied up before dying. This gives the consistent straight blue lines, with no bleed from the dye. The sections were then sewed into the jacket with the occasional sequin added for additional decoration and glamour. The jacket won 1st prize at the 1988 Geelong Show. Jean was assisted by the dress maker Ruth Randell with some of the design and sewing. Jean always found sewing “a bit of a bore”. The jacket also has an attached swing tag. It was added to provide information to the judges at the Melbourne Show on how the jacket was created. It comes complete with Jean’s self-proclaimed terrible handwriting. It was donated to the National Wool Museum in 2021.Cream singled breasted jacket with no overlap. The jacket has no column of buttons for fastening, or lapels. It is designed to be plain, to not draw attention. The jacket is highlighted by the Shibori dyed waves on the top left shoulder of the wearer, which works down to the bottom right hip. This blue dyed section of fabric is dotted with the occasional blue sequin. Internally, the jacket features a white silk lining for comfort. The jacket ends in a straight cut hem, including at the cuffs. The jacket has an attached swing tag. The swing tag is cream with a printed thin black boarder. Within the boarder, handwriting in black ink is found. It has a hole punch in the top left corner of the swing tag for attaching to the jacket.hand spun, hand weaving, textile design, textile production, shibori, kumo shibori

This photograph shows Charles Winnet Daniel Allen and Gladys Eileen Harris on their wedding day, 18th December 1937. This photographs relates to the fox fur coat which is now part of the National Wool Museum Collection, NWM-9090. "The foxes were shot in the 1950's by my Father, Charles Winnet Daniel Allen at two properties around Bacchus Marsh. One was Greystones at Glenmore, owned by the O'Keith family and the other was at Parwan, owned by the Miles Family. In the late 1940's and early 1950's, the Government put a bounty on the fox head. A pair of ears were sent to the Council and you were paid 2 pennies and the skins were sold to a skin buyer. My Father would go out on moon lit nights and shoot the foxes then skin them, which he would peg on a board to dry. He took 21 fox skins to Nettlebergs Pty. Ltd., Furriers at 173 Elizabeth Street Melbourne, Victoria, to have this coat made for my Mother, Gladys Eileen Allen. It cost Twenty Pound and Nine Shillings to have the skins made into this coat. My Father died on the 1st July 1982 and my Mother on the 15th October 1993, aged 76. This coat was inherited by me Theresa Joy Hodge (nee Allen) on the passing of my Mother. I have worn it on cold days, but seeing that I am 84 and the coat is 74 years old, I would like to donate it to you, as I have no-one to leave it to and hope that you and the visitors to your Museum will enjoy looking at it." Theresa Hodge, 2025 Theresa was a dairy farmer, who grew up in Bacchus Marsh with her parents, before moving to South Australia in 1980 to a 167 acre farm in Burrungale.Black and white photograph a man and a woman standing together. The woman is wearing a wedding gown and headpiece, and the man is wearing a suit.back: [handwritten] Wedding Photo of Gladys Harris / and Charles Allen 1937 / 17-3-1994 / 18-12-37 / Church of England / 18-12-1937 / ORIGINAL: / a. Surmon back: [printed] ALLEYNE HOCKLEY / 12 WILKIE STREET / CASTLEMAINE 3450 / Phone 721425 back: [printed] Kodak / PAPERfox fur coat, fashion, hunting, pest eradication, farming, rural life, bacchus marsh, greystones, glenmore, parwan, fox, nettlebergs pty ltd, furriers, clothing, theresa hodge, charles allen, gladys allen, wedding

This photograph shows Theresa Joy Hodge's father Charles Winnet Daniel Allen on property in the Bacchus Marsh area, where he shot foxes which which were turned into a fox fur coat, which is now part of the National Wool Museum Collection, NWM-9090. "The foxes were shot in the 1950's by my Father, Charles Winnet Daniel Allen at two properties around Bacchus Marsh. One was Greystones at Glenmore, owned by the O'Keith family and the other was at Parwan, owned by the Miles Family. In the late 1940's and early 1950's, the Government put a bounty on the fox head. A pair of ears were sent to the Council and you were paid 2 pennies and the skins were sold to a skin buyer. My Father would go out on moon lit nights and shoot the foxes then skin them, which he would peg on a board to dry. He took 21 fox skins to Nettlebergs Pty. Ltd., Furriers at 173 Elizabeth Street Melbourne, Victoria, to have this coat made for my Mother, Gladys Eileen Allen. It cost Twenty Pound and Nine Shillings to have the skins made into this coat. My Father died on the 1st July 1982 and my Mother on the 15th October 1993, aged 76. This coat was inherited by me Theresa Joy Hodge (nee Allen) on the passing of my Mother. I have worn it on cold days, but seeing that I am 84 and the coat is 74 years old, I would like to donate it to you, as I have no-one to leave it to and hope that you and the visitors to your Museum will enjoy looking at it." Theresa Hodge, 2025 Theresa was a dairy farmer, who grew up in Bacchus Marsh with her parents, before moving to South Australia in 1980 to a 167 acre farm in Burrungale.Black and white photograph featuring a man standing on a rural property with a dog beside him. A gate, fencing and water tank are shown in the background.back: [handwritten] 1939 / Charles Winnet Daniel / Allen back: [printed] FUJIFILM / Fujicolour Crystal Archive / Paperfox fur coat, fashion, hunting, pest eradication, farming, rural life, bacchus marsh, greystones, glenmore, parwan, fox, nettlebergs pty ltd, furriers, clothing, theresa hodge, charles allen, gladys allen

Jackie Kerin's (donor's) story. In 1973, I was in my late teens and while I’d moved to Sydney from Melbourne, to begin my first year of drama studies at the National Institute of Dramatic Art. My parents had moved to Lake Bunga, a few kilometers north of Lakes Entrance (Victoria). On my first holiday visit to Bunga, I called into the Jolly Jumbuck Country Craft Centre in Bairnsdale http://jumbukwool.com.au/history. I was entranced by the place and spent the following weeks learning to spin lumpy wool on an Ashford Wheel. By the end of the holidays, I had my own Ashford and it travelled with me back to Sydney. After graduation, I returned to Melbourne and the hippy “back to nature” movement was in full swing; there were many shops and galleries selling handmade woollen items and pottery etc. So I found an outlet for my pieces. Sometime in 1976-77, I met a spinner and weaver of Swiss origin (I think) – her name was Ingeborg Guber (not sure of the spelling). She had a small gallery/shop at Brighton Beach where she worked, with her pet duck for company. Ingeborg had an upright Philip Elford wheel; an Australian wheel crafted from Acacia melanoxylon (blackwood). I was smitten and ordered one. I have a memory of Philip driving to Hampton from Ballarat to make the delivery. I used this wheel for years but as time and enthusiasm for spinning waned, the wheel became a decorative item in the house. Then in the 90s, and with my drama training, I set myself up travelling to schools and festivals, museums and galleries as a storyteller. The spinning wheel had a new life accompanying me on my adventures. For many children, familiar with references to spinning in fairy tales, seeing the little Philip Elford upright was magical. The wheel was donated to the National Wool Museum in 2021.Vertical tripod leg spinning wheel. 6 spoke wheel with three bobbins. Inscription “Philip Elford Ballart” can be read in gold text stamped to the base of the wheel. Wording, stamped, gold. Philip / Elford / Ballartspinning wheel, textile production, hobby textiles, aciacia melanoxylon (blackwood)

WARM was a community textile art project that saw over 250 knitters come together to create a beautiful collage tapestry. Made entirely from wool, the artwork contains more than 1000 individual hand knitted sections. The project takes aim at global warming, it highlights both the causes and solutions for us to create a sustainable and safe climate for future generations. Lisa Kendal, the co-creator of the project, said “One of the problems in the world is that we have forgotten how to warm ourselves with wool. We have become too dependent on fossil fuels (for heating)”. This is the key idea surrounding the project. WARM began as two large scale images created by Lars Stenberg. The first image is a landscape scarred by coal mining. The second image is the same landscape only many decades later. Regeneration and regrowth have taken over the landscape and hidden the past coal mine completely. In its place is a beautiful landscape including trees, native flowers, a lake, lots of greenery and wind turbines. From March to the end of August in 2016, knitters worked hard to create the over one thousand pieces that came together to form the final tapestry. The pieces were all designed by Fibre Artist Georgie Nicolson of Tikki Knitting Designs, who converted the second image of the healed landscape into patterns for the 250 plus knitters to follow. These patterns included unusual designs such as gum leaves, trees, native flowers and even the wind turbines. During several days of installation, the knitted pieces were stitched together by Lars Stenberg over a picture of the first image of the operational coal mine. They worked to create the second image of the renewed landscape; like an enormous collage. The WARM project was donated to the National Wool Museum in 2021. It was a much-loved hanging within the Ballarat Hospital for many years before coming to the museum. More information about the project can be found on the following website. http://www.seam.org.au/warm The tapestry is made from 1000+ hand knitted sections stitched together to make an image. In the foreground of this image is a large gum tree that stretches from the bottom left to the top right corner. The trunk of this tree follows the left edge of the tapestry, with foliage from the gum tree spanning its top border. The bottom third of the tapestry is predominantly green grass with yellow, pink and red flowers providing sporadic colour. The middle third encompasses a lake, with orange colours surrounding the banks of the water as opposed to the green grasses of the bottom third. To the right of the lake are wind turbines. The top third of the tapestry is blue sky with white clouds. It also contains the previously described gum tree leaves. Each piece of the tapestry is 100% wool and was hand knitted and stitched together. The Tapestry is accompanied by an oil painting on canvas. It is a painting that matches the tapestry and served as a template for the final tapestry. Finally, the tapestry is accompanied by another pointing on wood board. This final panting is of a coal mine. This is the setting before regeneration and regrowth have reclaimed this site, which is the theme captured in the final tapestry. In the foreground of the coal mine painting is the same gum tree described in the tapestry; however, it is grey and sickle with only 4 leaves visible at the top border, compared to the numerous leaves in the tapestry. Also in the foreground is a broken barb wire fence adding to the unwelcoming nature of the site. The colour scheme of this image is of dark greys and browns. A coal fired power plant can be seen in the final third of the image with four chimneys emitting plumes of smoke into the sky. In front of this power plant is the spiral shape of a coal mine, burrowing deep into the earth’s crust. Inside of the coal mine 3 yellow trucks are seen mining and transporting coal to the top of the mine.warm, community textile tapestry, knitting, community artwork, global warming

The wool was shorn from sheep of the Wyndarra and Rockbank bloodlines. A flock of 290 sheep were kept undercover at Kadinia, the property of the Appledore family from Brim in the Wimmera district of Victoria. Their record-breaking wool was produced by giving the sheep a special diet and providing each one with a UV-protective coat. Around 180 fleeces were selected for the million dollar bale. The sale of the first bale of wool measuring below 14 microns was held in the Auction Room here at the National Wool Museum. Bidding began at $600/kg and steadily increased until there were only two bidders left. The bidders represented the Japanese firm Aoki International and Loro Piana of Italy. The hammer fell at $10,300/kg, with Aoki International paying $1,194,800 for the 116kg bale. The fleece was scoured (cleaned) at the Goulburn Wool Scour, New South Wales. The degree of preparation and care taken with the task was extreme. The Scour closed production three days before and was extensively cleaned. On the day of scouring 12 tonnes of 17 micron wool was washed to condition the water, then nine bales of extra super fine wool, worth over $300,000 was washed as a trial run. Toabo Agaki Japan was employed to process the scoured wool into suit cloth. Taobo required the scoured wool to contain 0.5% residual grease, 12% moisture and a yield of 83kg. These requirements were met. The entire staff of the Scour wanted to be part of washing the best wool in the world. Without asking for payment both the night shift and afternoon shift crews assisted the day shift in the task. The bale was fed into the scour in seven minutes and fitted into three bowls, half the scour. It completely disappeared into the dryer and the last wool was fed before the first wool was out. The clean wool was hand-packed into cardboard cartons and freighted to Japan. Aoki International, based in Yokohama Japan, cut three suit lengths from the cloth, then blended the remaining wool into an exclusive line of commercially-available suits. These suits are labeled Kadinia.Wool sample from the Million Dollar Balewool sales, million dollar bale

This medallion was struck to celebrate the 100th anniversary of fellmongering in Mazamet in 1951. Fellmongering - In French, ‘delainage” means, literally, ‘de-wooling'. It is the industrial process of separating wool from sheepskins. In the 19th century, the southern French town of Mazamet became the world centre of délainage and played an important part in the Australian wool industry. At one time Mazamet was reputed to be the 15th richest town in Europe, and it was said that the town’s branch of the Banque Nationale de Paris (French banking firm) was the second largest in France. At its height, Mazamet had 48 fellmongeries and imported more than 100,000 tonnes of sheepskins a year from the southern hemisphere, mostly from Australia and Argentina. It also supported numerous associated industries such as tanneries, spinning mills and clothing manufacturers. In the 1980s Mazamet’s fellmongering industry fell into decline under pressure from environmental concerns and cheap imports. The town’s last two fellmongeries closed in 2004. The town continues to have a strong relation to Australia, with street names such as, Rue de Australie, Adelaide, Brisbane, Melbourne and Sydney in recognition of a connection to the two distant lands. Today, half a century since wool importation largely ended, there remains a link to the past. Elite quality leather and woollen clothing companies such as Hermes and Chanel still source much of their stock in Mazamet. This medallion was presented to William Haughton and Co. who were one of Australia’s largest wool-buying companies of the first half of the 20th century. Wm Haughton had a major presence in Geelong and its “SKINS WOOL HIDES TALLOW etc.” signs were prominent on railways stations throughout the Western District and beyond. Haughtons had branches in all Australian capital cities, New Zealand, London and Bradford. Its agents in Mazamet were Maison Louis Maffre, an enterprise founded by M. Louis Maffre, mayor of Mazamet from 1912 to 1919. This medallion was donated to the National Wool Museum by the family of Sir Robert Southey AO CMG, former managing director of Wm Haughton & Co.Bronze medallion contained within purple case. On one side of the medallion, a mill worker is seen scraping the wool off the treated sheepskin. On the reverse the inception can be read.Wording: CRESCAM ET LUCEBO // CENTENAIRE / DU DELAINAGE / MAZAMET // 1851-1951. Smooth edge stamped with a cornucopia and the inscription BRONZEmazamet, fellmongering, délainage

This overcoat was designed and tailored by Dominex, a company that sold clothing in high end department stores such as Myer and David Jones in the 1940s through to the 2000s. As pictured in the accompanying advertising, Dominex looked to produce clothes for women to “casually, confidently wear … the exquisite styling and superb tailoring of… Dominex Coats”. This sentiment was carried by the company for more than 60 years. Amanda Morgan, a director of the Dominex fashion label in an interview from 2003 said “Not everybody wants sass, or sex, or high fashion for that matter. Au contraire. Our customers will be stylish, sophisticated and womanly, but we don’t do shoestring straps or asymmetrical lines." Dominex was a label specialising in exceptional quality "traditional" dressing for corporate wear. Their clothes looked to provide women with a return to the tried and true values of elegant, unpretentious, classic dressing. "Our look is European-influenced," Morgan explained further. "Inspired by Armani, Valentino, Chanel and Escada. Suits have been specially dyed in France to ensure the perfect shade of ice blue, lemon, grey, or slate. Fabrics are natural, silk and linen. Shapes are stylish, with an almost 1930s feel; classic pants, silk shirts, structured overcoats with elegant-length” Returning to this overcoat, it has a label on the inside which reads “Pure Wool Material by Godfrey Hirst of Geelong”. Nowadays Godfrey Hirst produce flooring products and are the largest manufacturer and exporter of residential and commercial carpets in Australasia. They have expanded into hard flooring and left their fashion days behind. This overcoat serves as a useful example of a different time for the company; before they made the change to concentrating exclusively on flooring, when they produced fabrics to be tailored for the height of Australian fashion. This overcoat was purchased and worn by Joan Waller, aunty of the donor, Kim Rosenow. Kim said her aunty was from Ballarat but frequently shopped in Melbourne to keep up with the latest trends. Her aunty Joan fitted the target demographic of Dominex well, as she needed to look sophisticated and elegant at social events and work. Kim donated the overcoat to the National Wool Museum in 2021. Green singled breasted overcoat with a narrow overlap and one column of buttons for fastening. The overcoat features notched lapels of a medium width and two large buttons of a green & dark green marble. The overcoat has two semi-visible jetted pockets at the hips. Internally, the overcoat features a black silk lining for comfort. It also features a stitched patch on the left side of the opening which reads “Pure Wool Material by Godfrey Hirst of Geelong”. At the collar, another patch reads “Dominex REGD”. At the cuffs, the overcoat finishes in a type of gauntlet cuff which stretches back over 200mm. The decorative finish utilises no buttons and has thick piping to accentuate this design feature. The overcoat finishes with a simple invisible hem at the bottom.Wording, gold. Patch stitched at collar: “DomineX / REGD.” Wording, black. Patch stitched at left off opening: “PURE WOOL MATERIAL BY / Godfrey Hirst / OF GEELONG”dominex, fashion, women's corporate wear, godfrey hirst, overcoat, wool clothing

Originating from Scotland pre-1950, this wool winder is ornately decorated featuring a male figure at its peak and a cherub at its base. Wool Winders are practical objects typically with minimal decoration; however, Wool Winders with ornate design features do exist. Scrimshaw (whale ivory) was a popular choice of material in the 18th and 19th century. It is smooth, preventing yarn from getting caught when unwinding, as well as having artistic beauty. Wool winders require a heavy base, as to not topple over when in use. It is popular to decorate these bases on more elaborate winders, such as shown in this example. The bows featured to tie the wood segments together is another feature of more elaborate models of wool winders, also highlighted in this example. This winder began life in the possession of Annie Crawford. The Crawford name has a strong connection with the town of Paisley, Scotland, and its Woollen Mills. The Crawford name can be seen working at the Woollen Mills in the 1851 Scotland Census, with Robert and his brother’s James and John working as Wool dyers. Their father Alexander also worked as a Loom Weaver. The winder immigrated with Annie when she, her husband and 3 children travelled to Australia, ready to start a new life. Most of their possessions were left behind in Scotland. This winder accompanied the family on their journey; so it stands to reason that the winder was special to them. Annie Crawford passed the winder onto her eldest daughter Joan Crawford. Joan did not have any children and so she passed the winder onto the eldest female grandchild, Fiona Crawford. Fiona Crawford continued the connection of the Crawford name with textiles, with an exhibition titled "When you go looking for me, I am not there". Utilising medieval embroidery tradition of ‘Punto Assisi, the exhibition was a reflection on the lack of women recorded in history, particularly their contribution to the domestic arts. Her work investigates both the absence of women while also honouring the unknown female makers of this now highly desired art. The Wool Winder was donated to the National Wool Museum in 2021 by Dianne Crawford, the sister of Fiona Crawford. Umbrella swift style wool winder made of metal, wood, and ribbon. Decorated at its highest point with a sculpted man standing on one leg, holding what is perhaps a rolled newspaper as though he may be bidding at an auction. Or perhaps he is holding a hank of wool. The man stands upon a three-tier platform of decreasing size and design which leads to the central metal shaft. At the base, the winder is decorated with an engraved cherub. Both figures have a small hole in one of their hands, indicating that they originally held something. Unfortunately, it is not known what this is. From the central metal shaft, this winder has 2 rows of 6 arms radiating out. These arms cross in the middle to form an X. These arms are also connected horizontally with additional arms which cross. This all forms an intricate web design, tied together with ribbon. The size of the web these arms create is adjustable, to accommodate yarns of different length. Beneath the second row of arms is a locking screw which holds this row at the desired height and width. This entire top section, beginning at the central metal shaft, can be unscrewed from its base for easier storage. The base begins in a wooden circular shape growing into a smaller ornately designed raise on which the cherub sits. From the head of the cherub the central metal shaft begins.paisley, scotland, wool winder, immigration

This blanket was owned by the Rosenberg family from the late 1950s onwards. It was the donor Denise’s blanket. Born May 1958, her late mother Elfie kept it safe for many decades after Denise had outgrown it. Elfie returned the blanket to Denise 20 years ago, in its current near new condition. Jacques Rosenberg and Elfie née Naparstek, Denise’s parents, met in Melbourne in the Summer of 1950. They both survived being young and Jewish in Europe during the Second World War. Jacques grew up in France and Elfie in Germany, she was a child of the Kindertransport. They married in 1952 and by 1958 had a son and two daughters. Denise, the youngest daughter, donated the blanket on behalf of the Rosenberg family to the National Wool Museum in 2021. The Kindertransport was a program designed to facilitate the immigration of Jewish children from Nazi Germany before the outbreak of the Second World War. The United Kingdom took in nearly 10,000 predominantly Jewish children from Germany, Austria, Czechoslovakia and Poland. The children were placed in British foster homes, hostels, schools and farms. Tragically, these children were often the only members of their families to survive the tragedies that were to unfold in Europe. Fortunately, Elfie’s parents did survive World War Two by sneaking out of Germany and into the south of France. After Elfie and her sister Serry were Kindertransported, they met up with Salma and Risla Naparstek in Paris in 1947 before migrating to Australia. This blanket originates from the Eagley Mill. They manufactured woollen, worsted and knitwear products from their mill located in Collingwood. Part of Foy & Gibson, the mill had frontages measuring almost two miles within the area bounded by Little Oxford, Wellington, Stanley and Peel Streets in Collingwood. This was the largest manufacturing plant for wool in the Southern Hemisphere at the time. It was also one of the oldest. The first machines for knitting men’s socks were installed in 1896. The site ultimately went into receivership while under new ownership in 1968 and is now high-end real estate. More information about the Mill can be read via Unimelb digitised collection. https://digitised-collections.unimelb.edu.au/bitstream/handle/11343/21262/269411_UDS2010852-85.pdf?sequence=18&isAllowed=y 38”x45” (965 x 1145mm) cream wool blanket. The blanket has white stitching around its edge. Embroidered in the centre of the blanket is a koala eating leaves with accompanying flowers on either side of the marsupial. In the bottom right corner of the blanket a small square label from the Eagley Mills is stitched. This label includes the images of a Sphinx head, a pyramid and a baby’s crib.Eagley / ALL / WOOL / 38”x45” / AWARDED THE CERTIFICATE OF / THE ROYAL INSTITUTE OF / PUBLIC HEALTH & HYGIENE LONDONkindertransport, eagley mill, blanket

Michael Crooks was the auctioneer responsible for selling Australia's million dollar wool bale on the 11th January, 1995 in Geelong, using this gavel. The wool was shorn from sheep of the Wyndarra and Rockbank bloodlines. A flock of 290 sheep were kept undercover at Kadinia, the property of the Appledore family from Brim in the Wimmera district of Victoria. Their record-breaking wool was produced by giving the sheep a special diet and providing each one with a UV-protective coat. Around 180 fleeces were selected for the million dollar bale. The sale of the first bale of wool measuring below 14 microns was held in the Auction Room here at the National Wool Museum. Bidding began at 40,000 (cents a kilogram) and steadily increased until there were only two bidders left. The bidders represented the Japanese firm Aoki International and Loro Piana of Italy. The hammer fell at 1,030,000 cents per kilogram, with Aoki International paying $1,194,800 for the 116kg bale. The fleece was scoured (cleaned) at the Goulburn Wool Scour, New South Wales. The degree of preparation and care taken with the task was extreme. The Scour closed production three days before and was extensively cleaned. On the day of scouring 12 tonnes of 17 micron wool was washed to condition the water, then nine bales of extra super fine wool, worth over $300,000 was washed as a trial run. Toabo Agaki Japan was employed to process the scoured wool into suit cloth. Taobo required the scoured wool to contain 0.5% residual grease, 12% moisture and a yield of 83kg. These requirements were met. The entire staff of the Scour wanted to be part of washing the best wool in the world. Without asking for payment both the night shift and afternoon shift crews assisted the day shift in the task. The bale was fed into the scour in seven minutes and fitted into three bowls, half the scour. It completely disappeared into the dryer and the last wool was fed before the first wool was out. The clean wool was hand-packed into cardboard cartons and freighted to Japan. Aoki International, based in Yokohama Japan, cut three suit lengths from the cloth, then blended the remaining wool into an exclusive line of commercially-available suits. These suits are labelled Kadinia.Small wooden hammer, with handle and double sided face.gavel, michael crooks, auctioneer, wool industry, million dollar bale, geelong, auction, kadinia, appledore

This photograph depicts people gathered in the Growers Gallery on the 11th January, 1995 at the National Wool Centre, Geelong. It shows the emotions of Murray, Ian and Kaye Appledore while bidding took place for the million dollar bale. The wool was shorn from sheep of the Wyndarra and Rockbank bloodlines. A flock of 290 sheep were kept undercover at Kadinia, the property of the Appledore family from Brim in the Wimmera district of Victoria. Their record-breaking wool was produced by giving the sheep a special diet and providing each one with a UV-protective coat. Around 180 fleeces were selected for the million dollar bale. The sale of the first bale of wool measuring below 14 microns was held in the Auction Room here at the National Wool Museum. Bidding began at 40,000 (cents a kilogram) and steadily increased until there were only two bidders left. The bidders represented the Japanese firm Aoki International and Loro Piana of Italy. The hammer fell at 1,030,000 cents per kilogram, with Aoki International paying $1,194,800 for the 116kg bale. The fleece was scoured (cleaned) at the Goulburn Wool Scour, New South Wales. The degree of preparation and care taken with the task was extreme. The Scour closed production three days before and was extensively cleaned. On the day of scouring 12 tonnes of 17 micron wool was washed to condition the water, then nine bales of extra super fine wool, worth over $300,000 was washed as a trial run. Toabo Agaki Japan was employed to process the scoured wool into suit cloth. Taobo required the scoured wool to contain 0.5% residual grease, 12% moisture and a yield of 83kg. These requirements were met. The entire staff of the Scour wanted to be part of washing the best wool in the world. Without asking for payment both the night shift and afternoon shift crews assisted the day shift in the task. The bale was fed into the scour in seven minutes and fitted into three bowls, half the scour. It completely disappeared into the dryer and the last wool was fed before the first wool was out. The clean wool was hand-packed into cardboard cartons and freighted to Japan. Aoki International, based in Yokohama Japan, cut three suit lengths from the cloth, then blended the remaining wool into an exclusive line of commercially-available suits. These suits are labelled Kadinia.Colour photograph showing an interior view of rows of people seated and standing in room.michael crooks, auctioneer, wool industry, million dollar bale, geelong, auction, kadinia, appledore, keith jackson, sale room

This sales catalogue was the one used by Auctioneer Michael Crooks on 11th January 1995 when the million dollar bale was sold at the National Wool Centre, Geelong. The wool was shorn from sheep of the Wyndarra and Rockbank bloodlines. A flock of 290 sheep were kept undercover at Kadinia, the property of the Appledore family from Brim in the Wimmera district of Victoria. Their record-breaking wool was produced by giving the sheep a special diet and providing each one with a UV-protective coat. Around 180 fleeces were selected for the million dollar bale. The sale of the first bale of wool measuring below 14 microns was held in the Auction Room here at the National Wool Museum. Bidding began at 40,000 (cents a kilogram) and steadily increased until there were only two bidders left. The bidders represented the Japanese firm Aoki International and Loro Piana of Italy. The hammer fell at 1,030,000 cents per kilogram, with Aoki International paying $1,194,800 for the 116kg bale. The fleece was scoured (cleaned) at the Goulburn Wool Scour, New South Wales. The degree of preparation and care taken with the task was extreme. The Scour closed production three days before and was extensively cleaned. On the day of scouring 12 tonnes of 17 micron wool was washed to condition the water, then nine bales of extra super fine wool, worth over $300,000 was washed as a trial run. Toabo Agaki Japan was employed to process the scoured wool into suit cloth. Taobo required the scoured wool to contain 0.5% residual grease, 12% moisture and a yield of 83kg. These requirements were met. The entire staff of the Scour wanted to be part of washing the best wool in the world. Without asking for payment both the night shift and afternoon shift crews assisted the day shift in the task. The bale was fed into the scour in seven minutes and fitted into three bowls, half the scour. It completely disappeared into the dryer and the last wool was fed before the first wool was out. The clean wool was hand-packed into cardboard cartons and freighted to Japan. Aoki International, based in Yokohama Japan, cut three suit lengths from the cloth, then blended the remaining wool into an exclusive line of commercially-available suits. These suits are labelled Kadinia.Bound paper booklet, approximately 35 pages, with printed and handwritten text.Front: [handwritten] AUCTIONEER M. CROOKS Front: [printed] SALE NO G04/28 / VICTORIAN PRODUCERS' / 147-155 PELHAM STREET, CARLTON / Will Offer for Sale by Auction / AT / THE NATIONAL WOOL CENTRE / GEELONG / Under Conditions of Sale as Displayed in Sale Room and at Wool Store / ON / WEDNESDAY, 11TH JANUARY / 1995 / 4044 BALES WOOL / INCLUDING 1241 BALES BY SEPARATIONmichael crooks, auctioneer, wool industry, million dollar bale, geelong, auction, kadinia, appledore, keith jackson, sale room, geelong wool centre

Victorian Producers Market Report, featuring details of the sale of the million dollar bale on Wednesday 11th January, 1995 in Geelong. The wool was shorn from sheep of the Wyndarra and Rockbank bloodlines. A flock of 290 sheep were kept undercover at Kadinia, the property of the Appledore family from Brim in the Wimmera district of Victoria. Their record-breaking wool was produced by giving the sheep a special diet and providing each one with a UV-protective coat. Around 180 fleeces were selected for the million dollar bale. The sale of the first bale of wool measuring below 14 microns was held in the Auction Room here at the National Wool Museum. Bidding began at 40,000 (cents a kilogram) and steadily increased until there were only two bidders left. The bidders represented the Japanese firm Aoki International and Loro Piana of Italy. The hammer fell at 1,030,000 cents per kilogram, with Aoki International paying $1,194,800 for the 116kg bale. The fleece was scoured (cleaned) at the Goulburn Wool Scour, New South Wales. The degree of preparation and care taken with the task was extreme. The Scour closed production three days before and was extensively cleaned. On the day of scouring 12 tonnes of 17 micron wool was washed to condition the water, then nine bales of extra super fine wool, worth over $300,000 was washed as a trial run. Toabo Agaki Japan was employed to process the scoured wool into suit cloth. Taobo required the scoured wool to contain 0.5% residual grease, 12% moisture and a yield of 83kg. These requirements were met. The entire staff of the Scour wanted to be part of washing the best wool in the world. Without asking for payment both the night shift and afternoon shift crews assisted the day shift in the task. The bale was fed into the scour in seven minutes and fitted into three bowls, half the scour. It completely disappeared into the dryer and the last wool was fed before the first wool was out. The clean wool was hand-packed into cardboard cartons and freighted to Japan. Aoki International, based in Yokohama Japan, cut three suit lengths from the cloth, then blended the remaining wool into an exclusive line of commercially-available suits. These suits are labelled Kadinia.Two pages held with staple in top left corner with printed black text.Front: [printed] VP / VICTORIAN PRODUCERS' / CO-OPERATIVE COMPANY LIMITED / A. C. N. 004 059 607 / VPC WOOL SALE G04 / 11TH JANUARY, 1995 SEASON 1994/95michael crooks, auctioneer, wool industry, million dollar bale, geelong, auction, kadinia, appledore, keith jackson, sale room, geelong wool centre

Australian Wool Markets Report, featuring details of the sale of the million dollar bale on Wednesday 11th January, 1995 in Geelong. The wool was shorn from sheep of the Wyndarra and Rockbank bloodlines. A flock of 290 sheep were kept undercover at Kadinia, the property of the Appledore family from Brim in the Wimmera district of Victoria. Their record-breaking wool was produced by giving the sheep a special diet and providing each one with a UV-protective coat. Around 180 fleeces were selected for the million dollar bale. The sale of the first bale of wool measuring below 14 microns was held in the Auction Room here at the National Wool Museum. Bidding began at 40,000 (cents a kilogram) and steadily increased until there were only two bidders left. The bidders represented the Japanese firm Aoki International and Loro Piana of Italy. The hammer fell at 1,030,000 cents per kilogram, with Aoki International paying $1,194,800 for the 116kg bale. The fleece was scoured (cleaned) at the Goulburn Wool Scour, New South Wales. The degree of preparation and care taken with the task was extreme. The Scour closed production three days before and was extensively cleaned. On the day of scouring 12 tonnes of 17 micron wool was washed to condition the water, then nine bales of extra super fine wool, worth over $300,000 was washed as a trial run. Toabo Agaki Japan was employed to process the scoured wool into suit cloth. Taobo required the scoured wool to contain 0.5% residual grease, 12% moisture and a yield of 83kg. These requirements were met. The entire staff of the Scour wanted to be part of washing the best wool in the world. Without asking for payment both the night shift and afternoon shift crews assisted the day shift in the task. The bale was fed into the scour in seven minutes and fitted into three bowls, half the scour. It completely disappeared into the dryer and the last wool was fed before the first wool was out. The clean wool was hand-packed into cardboard cartons and freighted to Japan. Aoki International, based in Yokohama Japan, cut three suit lengths from the cloth, then blended the remaining wool into an exclusive line of commercially-available suits. These suits are labelled Kadinia.Three pages held with staple in top left corner with printed black text.Front: [printed] Wool International / TONY SMITH / VPC / WOOL INTERNATIONAL / AUSTRALIAN WOOL MARKETS REPORT: WEDNESDAY 11/1/95michael crooks, auctioneer, wool industry, million dollar bale, geelong, auction, kadinia, appledore, keith jackson, sale room, geelong wool centre

This photograph shows Grower Ian Appledore, Auctioneer Michael Crooks and Wool Manager Keith Jackson posing with the million dollar bale after it was sold on 11th January 1995 in Geelong. The wool was shorn from sheep of the Wyndarra and Rockbank bloodlines. A flock of 290 sheep were kept undercover at Kadinia, the property of the Appledore family from Brim in the Wimmera district of Victoria. Their record-breaking wool was produced by giving the sheep a special diet and providing each one with a UV-protective coat. Around 180 fleeces were selected for the million dollar bale. The sale of the first bale of wool measuring below 14 microns was held in the Auction Room here at the National Wool Museum. Bidding began at 40,000 (cents a kilogram) and steadily increased until there were only two bidders left. The bidders represented the Japanese firm Aoki International and Loro Piana of Italy. The hammer fell at 1,030,000 cents per kilogram, with Aoki International paying $1,194,800 for the 116kg bale. The fleece was scoured (cleaned) at the Goulburn Wool Scour, New South Wales. The degree of preparation and care taken with the task was extreme. The Scour closed production three days before and was extensively cleaned. On the day of scouring 12 tonnes of 17 micron wool was washed to condition the water, then nine bales of extra super fine wool, worth over $300,000 was washed as a trial run. Toabo Agaki Japan was employed to process the scoured wool into suit cloth. Taobo required the scoured wool to contain 0.5% residual grease, 12% moisture and a yield of 83kg. These requirements were met. The entire staff of the Scour wanted to be part of washing the best wool in the world. Without asking for payment both the night shift and afternoon shift crews assisted the day shift in the task. The bale was fed into the scour in seven minutes and fitted into three bowls, half the scour. It completely disappeared into the dryer and the last wool was fed before the first wool was out. The clean wool was hand-packed into cardboard cartons and freighted to Japan. Aoki International, based in Yokohama Japan, cut three suit lengths from the cloth, then blended the remaining wool into an exclusive line of commercially-available suits. These suits are labelled Kadinia.Colour photograph showing three men standing around a bale of wool.michael crooks, auctioneer, wool industry, million dollar bale, geelong, auction, kadinia, appledore, keith jackson, sale room, geelong wool centre

This photograph shows armed guards and Wool Manager Keith Jackson posing with the million dollar wool bale after it was sold by auctioneer Michael Crooks on the 11th January, 1995 in Geelong. The wool was shorn from sheep of the Wyndarra and Rockbank bloodlines. A flock of 290 sheep were kept undercover at Kadinia, the property of the Appledore family from Brim in the Wimmera district of Victoria. Their record-breaking wool was produced by giving the sheep a special diet and providing each one with a UV-protective coat. Around 180 fleeces were selected for the million dollar bale. The sale of the first bale of wool measuring below 14 microns was held in the Auction Room here at the National Wool Museum. Bidding began at 40,000 (cents a kilogram) and steadily increased until there were only two bidders left. The bidders represented the Japanese firm Aoki International and Loro Piana of Italy. The hammer fell at 1,030,000 cents per kilogram, with Aoki International paying $1,194,800 for the 116kg bale. The fleece was scoured (cleaned) at the Goulburn Wool Scour, New South Wales. The degree of preparation and care taken with the task was extreme. The Scour closed production three days before and was extensively cleaned. On the day of scouring 12 tonnes of 17 micron wool was washed to condition the water, then nine bales of extra super fine wool, worth over $300,000 was washed as a trial run. Toabo Agaki Japan was employed to process the scoured wool into suit cloth. Taobo required the scoured wool to contain 0.5% residual grease, 12% moisture and a yield of 83kg. These requirements were met. The entire staff of the Scour wanted to be part of washing the best wool in the world. Without asking for payment both the night shift and afternoon shift crews assisted the day shift in the task. The bale was fed into the scour in seven minutes and fitted into three bowls, half the scour. It completely disappeared into the dryer and the last wool was fed before the first wool was out. The clean wool was hand-packed into cardboard cartons and freighted to Japan. Aoki International, based in Yokohama Japan, cut three suit lengths from the cloth, then blended the remaining wool into an exclusive line of commercially-available suits. These suits are labelled Kadinia.Colour photograph showing three men with a bale of wool in front of an armaguard truck. Two of the men are armed guards standing either side of the wool bale, one is holding a shotgun. Another man in a suit and tie is crouching near the bale.gavel, michael crooks, auctioneer, wool industry, million dollar bale, geelong, auction, kadinia, appledore, keith jackson, armed guards, armaguard

This photograph shows bidding underway for the million dollar bale in the Sale Room on the 11th January, 1995 at the National Wool Centre, Geelong. People depicted include Sale Team Baxter Murray, Auctioneer Michael Crooks and Wool Manager Keith Jackson. The wool was shorn from sheep of the Wyndarra and Rockbank bloodlines. A flock of 290 sheep were kept undercover at Kadinia, the property of the Appledore family from Brim in the Wimmera district of Victoria. Their record-breaking wool was produced by giving the sheep a special diet and providing each one with a UV-protective coat. Around 180 fleeces were selected for the million dollar bale. The sale of the first bale of wool measuring below 14 microns was held in the Auction Room here at the National Wool Museum. Bidding began at 40,000 (cents a kilogram) and steadily increased until there were only two bidders left. The bidders represented the Japanese firm Aoki International and Loro Piana of Italy. The hammer fell at 1,030,000 cents per kilogram, with Aoki International paying $1,194,800 for the 116kg bale. The fleece was scoured (cleaned) at the Goulburn Wool Scour, New South Wales. The degree of preparation and care taken with the task was extreme. The Scour closed production three days before and was extensively cleaned. On the day of scouring 12 tonnes of 17 micron wool was washed to condition the water, then nine bales of extra super fine wool, worth over $300,000 was washed as a trial run. Toabo Agaki Japan was employed to process the scoured wool into suit cloth. Taobo required the scoured wool to contain 0.5% residual grease, 12% moisture and a yield of 83kg. These requirements were met. The entire staff of the Scour wanted to be part of washing the best wool in the world. Without asking for payment both the night shift and afternoon shift crews assisted the day shift in the task. The bale was fed into the scour in seven minutes and fitted into three bowls, half the scour. It completely disappeared into the dryer and the last wool was fed before the first wool was out. The clean wool was hand-packed into cardboard cartons and freighted to Japan. Aoki International, based in Yokohama Japan, cut three suit lengths from the cloth, then blended the remaining wool into an exclusive line of commercially-available suits. These suits are labelled Kadinia.Colour photograph showing an interior view of people seated at rows of tables with an auctioneers stand at front of the room.michael crooks, auctioneer, wool industry, million dollar bale, geelong, auction, kadinia, appledore, keith jackson, sale room

This photograph shows Growers Ian Appledore, Kaye Appledore and Murray Appledore, Wool Manager Keith Jackson, Wool Classer Phillip Gibson, Geoff Allibon and Brendan Dart posing with the million dollar bale after it was sold on 11th January 1995 in Geelong. The wool was shorn from sheep of the Wyndarra and Rockbank bloodlines. A flock of 290 sheep were kept undercover at Kadinia, the property of the Appledore family from Brim in the Wimmera district of Victoria. Their record-breaking wool was produced by giving the sheep a special diet and providing each one with a UV-protective coat. Around 180 fleeces were selected for the million dollar bale. The sale of the first bale of wool measuring below 14 microns was held in the Auction Room here at the National Wool Museum. Bidding began at 40,000 (cents a kilogram) and steadily increased until there were only two bidders left. The bidders represented the Japanese firm Aoki International and Loro Piana of Italy. The hammer fell at 1,030,000 cents per kilogram, with Aoki International paying $1,194,800 for the 116kg bale. The fleece was scoured (cleaned) at the Goulburn Wool Scour, New South Wales. The degree of preparation and care taken with the task was extreme. The Scour closed production three days before and was extensively cleaned. On the day of scouring 12 tonnes of 17 micron wool was washed to condition the water, then nine bales of extra super fine wool, worth over $300,000 was washed as a trial run. Toabo Agaki Japan was employed to process the scoured wool into suit cloth. Taobo required the scoured wool to contain 0.5% residual grease, 12% moisture and a yield of 83kg. These requirements were met. The entire staff of the Scour wanted to be part of washing the best wool in the world. Without asking for payment both the night shift and afternoon shift crews assisted the day shift in the task. The bale was fed into the scour in seven minutes and fitted into three bowls, half the scour. It completely disappeared into the dryer and the last wool was fed before the first wool was out. The clean wool was hand-packed into cardboard cartons and freighted to Japan. Aoki International, based in Yokohama Japan, cut three suit lengths from the cloth, then blended the remaining wool into an exclusive line of commercially-available suits. These suits are labelled Kadinia.Colour photograph showing three six men and one woman standing around a bale of wool.michael crooks, auctioneer, wool industry, million dollar bale, geelong, auction, kadinia, appledore, keith jackson, sale room, geelong wool centre

The Wreck of Hope (Long-nosed Common Dolphin skeleton, Delphinus delphis) featured as part of the exhibition Anatomy Lessons, shown at the National Wool Museum in 2024. The exhibition featured meticulously-sculpted, life size skeletons, making visitors question their place in this web of the living and the dead. From a towering giraffe stretching 4.4 metres in height, to an army of over 50 delicately rendered frogs, this exhibition was enthralling in scale. Each sculpture is an accurate portrayal of a real animal and is carefully measured, drawn, and moulded from steel, wire, and foam. The frame is then intricately knitted over to create these thought-provoking pieces. Each sculpture tells a story, one of the collection of animals by museums and collectors, of Western safari hunters, of human encroachment, and of the often-sad role of the animals in our lives. These underlying concepts are explored and reflected by the materials used. Wool, that speaks of warmth, of comfort, of care, meets the size, grace, and sheer breathtaking beauty of the pieces, clashing with the hard and complex stories beneath. This knitted dolphin skeleton was the start of Beevor's interest in comparative anatomy. Beevors recalls viewing a dolphin, one of many skeletons alongside a mouse and a lion in the Australian Museum's collection during a school visit in the 1970s. At the time, school children watched TV reruns of 'Flipper', which portrayed dolphins as intelligent and noble animals. Elsewhere, the conservation movement was growing, and appeals to protect marine mammals were gaining momentum through the 'Save the Whales' campaign. The fascination with live dolphin shows had grown throughout the 1960s and 1970s and the ethics began to be questioned. Some believe they played an important role in raising public awareness of cetaceans and their welfare. Others argued the performances glorified the dominance of heroic trainers over the subordinate dolphin, and offered little education about the dolphins' natural characteristics nor prioritised their welfare. Many of these facilities are now closed and all dolphin species are protected by international accords aimed at conserving wild populations. Despite this dolphins are still at risk of swallowing plastic waste, mercury toxicity, toxoplasmosis, boat impacts and being bycatch in commercial fishing operations. Originally from Australia, Michele Beevors has been practicing in New Zealand for the last 20 years. She is Head of Sculpture at Dunedin School of Art, Otago Polytechnic, New Zealand’s oldest, and one of its most prestigious, art schools. Beevors has exhibited in galleries, museums, and exhibition spaces in across New Zealand, Australia and Vienna with art that is defiant, unconventional, and moving.Life sized knitted skeleton of a dolphin, with white wool and internal steel, foam and wire frame. The dolphin is mounted on a wooden base, made from a desk, with books placed under the desk lid. The books and desk are painted black.knitting, art, dolphin, conservation, sculpture, skeletons, anatomy lessons, michele beevors