Nino Corda was a Geelong based textile designer who worked at various textile mills between 1957 & 2003. He travelled the world in search of the latest fashions and techniques and developed timeless designs that were much loved by Australians. These items are on rotational display at the National Wool Museum’s ‘In the Factory’ exhibition. For many years, Nino also worked as part of the Honorary Staff of the National Wool Museum. His passion for the world of textiles provided energy and knowledge to the visitors and staff of the museum. Although Nino has now retired from his honorary position and has hung up his Australian Tartan vest, these items will continue to serve the community in sharing the stories of Australian Textile design. Textile designers used glasses such as these to see how many threads are within a textile sample. It was important to count correctly, otherwise the enlarged final pattern would be out of alignment. These glasses were popular in the 1950s but were replaced by viewing lens, such as item 8040 (in the National Wool Museum's Collection) in the 1960s because of their compact nature.Thin metal wire makes up the frame of the glasses. The metal is a standard metallic silver. The piece to sit on-top of the ear is excessively curved to hook around the ear. This is done to ensure the glasses do not fall off the face while looking down to view thread counts in a textile sample. The glasses are lacking lenses in their usual place. This has been replaced by another thin wire frame which protrudes an extra inch in front of the frame, almost like an additional layer of the glasses. Where this layer / frame ends, two lenses can be found which are square and much smaller than typical glasses lenses. This has been done to allow for powerful magnifying glass which would be ill-suited if it sat too close to the face / eyes. The glasses are also accompanied by their original box. The box is blue and has a large rectangle running through its centre. This rectangle works as a cushion for the glasses and is required as a result of their unusual shape.textile design, textile calculations

"The passing of the Melbourne Cable Tramways", featuring photographs of first cable tram, Fitzroy power house, cable trams in the street, Nicholson St, the No. 1 tram entering the National Museum, some historic notes on the construction of the system, its operations, MMTB takeover, a drawing of the grip and of the badges and buttons used and an image of the cable used. Notes that it was compiled by A. R. Turnbull with co-operation of F. King, K.L.Mackenzie and H. G de Mamiel. Original poster prepared by the MMTB and presented to the State Library or the Museum of Victoria at the time of closure. See Reg Item 6367 for another photograph and 6368 for another poster of the time - Melbourne tramways past and present posterYields information about the Melbourne cable tram system and its history. Frame - wooden outside painted white, glazed with clear glass, off white card backing with brown paper on rear, brass wire hanging wire with small eye hooks the side., containing a photo titled "The passing of the Melbourne Cable Tramways"tramways, cable trams, melbourne, tramcars, closure, museums

"The passing of the Melbourne Cable Tramways", featuring photographs of first cable tram, Fitzroy power house, cable trams in the street, Nicholson St, the No. 1 tram entering the National Museum, some historic notes on the construction of the system, its operations, MMTB takeover, a drawing of the grip and of the badges and buttons used and an image of the cable used. Notes that it was compiled by A. R. Turnbull with co-operation of F. King, K.L.Mackenzie and H. G de Mamiel. Original poster prepared by the MMTB and presented to the State Library or the Museum of Victoria at the time of closure. See Reg Item 2854 for a framed photograph and 6368 for another poster of the time - Melbourne tramways past and present poster Yields information about the Melbourne cable tram system and its history. Photograph - of a MMTB Poster titled - "The passing of the Melbourne Cable Tramways"tramways, trams, cable trams, closure, museums, melbourne

Yields information about Ballarat's trams in the early 1970's and the Drummond St South streetscape.Black and white print of Ballarat 21 in Macarthur St, leaving the High St loop. Tram has the destination of Gardens via Drummond Nth. Two copies. Photo by Doug Colquhoun, 15/5/1971. Photo print courtesy of Port Dock Railway Museum, now the National Railway Museum. See worksheet 4311 for letter and details of prints sent to Bill Scott, 19/10/2001. Any photo credit to mention NRM Collection.On rear of copy 1 "SEC Ballarat / 21 (Ex MTT A.10)/ Drummond St / 15/5/71 4170 / D.A. Colquhoun" . Copy 2 "DAC" in ink, bottom right hand corner.trams, tramways, macarthur st, high st, tram 21

Two items of newborn clothing dating to 1944. The first item is a dress and the second is a singlet. Both items are made from wool and are in new, unused condition. The clothing was owned by Mrs L. Brawdrup and was donated to the National Wool Museum in 2022 by Lila Gore.Clothing item one is a cream woven dress. It is finished at the sleeves, neck, and hem with a white lace trim. The trim is formed from a thread that has a metallic gleam, presumably cotton. The dress is styled under the neck with a stitched patterned of frills and flowers in the same white metallic thread. The dress gathers under the armpits, similar in style to a dirndl. At the rear, the dress is loosened and fastened by 3 press stud buttons in an opening at the centre. Clothing item two is a cream woven singlet. It is finished at the sleeves, neck, and hem with a white lace trim. The trim is formed from a thread that has a metallic gleam, presumably cotton. The lace is like the dress; however, it is less intricate. baby clothing, 1940s, 1940s baby clothing

This item commemorates the war in Vietnam and was a gift presented to the National Vietnam Veterans Museum by the Victorian chapter of the Vietnamese Community in Australia in 2012.An olive green wine bottle with black screw cap. The label shows two armed soldiers in full pack with an Australian flag on the top left corner. Vietnamese Community in Aust - Victorian Chapter 2012/"Lest We Forget/Side By Side: Hanh Quan Phoi Hop. 1962-1975/Vietnam inscription 1961 - 1975 -- veterans -- australia, wine bottle, vietnamese community in australia, vietnamese community

Created for and entered in the 2008 ‘Expressions: The Wool Quilt Prize’- “The quilts connect us to our past and to our future, by interpreting Australian themes and telling our stories.”- Judy Hooworth, Quilter and Judge of the Prize. Donated to the National Wool Museum after the conclusion of the exhibition.Eucalyptus dyed woolen blanket base with salvaged fabrics hand sewn to create a patchwork effect. The eucalyptus dye has been used to create different tones of brown and red throughout the design with further dyeing used to create leaf imprints on the fabrics. A running stitch has been used to quilt the wagga, the stitching is imperfect, in places tied on the surface of the wagga.On reverse: INDIA FLINT RED BLANKET WAGGAexpressions: the wool quilt prize, quilt, india flint, wagga

These forceps belonged to the late Colin Noel de Garis. Also donated was a foetal scalpel electrode applicator- see donation form. There is a note that former honorary curator Peter Renou collected the donation. Peter Renou does not recall being involved in the donation.( Source: Grainne Murphy 15 November 2010.) This design of obstetrical forceps, with a screw in the handle, was introduced by George Thomson Elliot (1827-1871), a New York obstetrician. (Source: National Museum of American History, 'Obstetrical forceps') The 'sliding pivot' on the forceps was designed to prevent the compression of the baby's head. (Source: Elliot, GT, 'Description of a new midwifery forceps : having a sliding pivot to prevent compression of the foetal head, with cases', c.1860)"The Elliot forceps and its modifications (Elliot, Tucker-McLane, Tucker-Luikart) have shorter blades and an accentuated cephalic curve that is more suitable for a rounded fetal head that has not undergone extensive molding. In addition, Elliot instruments, because of their overlapping shanks, do not distend the perineum in the same way as the separated shanks of the Simpson-type forceps." (Source: Sakornbut, EL, 'Chapter 18 - Intrapartum Procedures', in Ratcliffe SD et al (eds.), 'Family Medicine Obstetrics', 3rd ed., 2008) Obstetric forceps, Elliot's. Consists of long shanks, made of forged chrome plated metal with metal handle, four finger grips, and distinctive screw and pin at the end of the handles. This screw functioned as a means of regulating the lateral pressure of the handles when in use. obstetric delivery

Nino Corda was a Geelong based textile designer who worked at various textile mills between 1957 & 2003. He travelled the world in search of the latest fashions and techniques and developed timeless designs that were much loved by Australians. These items are on rotational display at the National Wool Museum’s ‘In the Factory’ exhibition. For many years, Nino also worked as part of the Honorary Staff of the National Wool Museum. His passion for the world of textiles provided energy and knowledge to the visitors and staff of the museum. Although Nino has now retired from his honorary position and has hung up his Australian Tartan vest, these items will continue to serve the community in sharing the stories of Australian Textile design.Custom made wooden hinged box with a hook latch. Brass yarn spinner, attached to a mahogany wood plinth base, which spins fibre into cord/yarn/thread. It has dials to set the rate that it spins. Metal plaque with black inlaid enamel lettering. Small cork inlay. Brass rod with hinge and wingnut, and ball at end. Ball at end has an adjustment mechanism. Rod also has an adjustable circular collar. Pair of curved tweezers. Circular magnifying glass on long thin handle. Glass has two concave lenses. Weaving sample in shades of blue, green and brown. Twill weave. Alternate pattern samples separated by red thread.Brass plaque on base of spinner: 42 MARKET St / John Nesbitt / REGd TRADE MARK / LIMd / MANCHESTER Underside of wooden plinth: 4976apparatus, textile, testing, spinning, nino corda, magnifyer, tools, brass, mahogany, tweezers, yarn, spinner, design, john nesbitt, manchester, england, 19th century, engineering, manufacturing

Yields information about Ballarat Trams and streetscapes and the city terminal area, late 1950's.Black and white print of Ballarat of No. 36 in Wendouree Parade, northern side of the lake. Tram has the destination of Gardens Via Drummond St, a roof advertisement for "Edmonds" Two copies. Photographed by Wal Jack 28/2/1962. Photo print courtesy of Port Dock Railway Museum, now the National Railway Museum. See worksheet 4311 for letter and details of prints sent to Bill Scott, 19/10/2001. Any photo credit to mention NRM Collection.On rear of copy 1"SEC Ballarat / 35 / Wendouree Parade / 28/2/62 2116 / " Copy 2 "Ballarat car 35" in ink, bottom right hand corner.trams, tramways, wendouree parade, tram 35

Yields information about Bendigo trams, the Golden Square route in the early 1960's prior to fitting dash canopy lighting.Black and white print of the Ballarat Scrubber tram, at the Bell Street loop, 28/2/1962, Photo by Wal Jack. Two copies. Photo print courtesy of Port Dock Railway Museum, now the National Railway Museum. See worksheet 4311 for letter and details of prints sent to Bill Scott, 19/10/2001. Any photo credit to mention NRM Collection. .1 - same photograph with Doug Colquhoun stamp on rear - see image i2..1 - On rear of copy 1"SEC Ballarat / Scrubber car /Bell St loop / 28/2/62 2125 / Wal Jack " In the top right hand corner "74)" .2 - On rear has Douglas Colquhoun stamp with photograph details - see image i2 trams, tramways, scrubber tram, bell st, tram scrubber

Yields information about Ballarat's trams in the early 1970's and the street scape from Lydiard St to Bridge St.Black and white print of Ballarat 32, in Wendouree Parade, north side of Lake Wendouree, near the depot. Two copies. Photo by Doug Colquhoun, 15/5/1971. Trams has the destination of Gardens via Drummond Nth. Photo print courtesy of Port Dock Railway Museum, now the National Railway Museum. See worksheet 4311 for letter and details of prints sent to Bill Scott, 19/10/2001. Any photo credit to mention NRM Collection.On rear of copy 1 "SEC Ballarat / 32 /Near Depot / 15/5/71 4162 / D.A. Colquhoun" . Copy 2 "DAC" in ink, bottom right hand corner.trams, tramways, wendouree parade, tram 32

Yields information about Bendigo's trams in the early 1970's and the Eaglehawk terminus.Black and white print of Bendigo 28 at the Golden Square terminus. Two copies. Photo by Doug Colquhoun, 16/5/1971. Trams has the destination of Nth Bendigo and roof advertisements for Briquettes. Also has the Golden Square hotel in the background. Photo print courtesy of Port Dock Railway Museum, now the National Railway Museum. See worksheet 4311 for letter and details of prints sent to Bill Scott, 19/10/2001. Any photo credit to mention NRM Collection.On rear of copy 1 "SEC Bendigo / 28 /Golden Square / 16/5/71 4187 / D.A. Colquhoun" . Copy 2 "DAC" in ink, bottom right hand corner.trams, tramways, golden square, tram 28

Yields information about Bendigo Trust's trams in the late 1970's and the depot.Black and white print of Bendigo Trust 28 at the depot. Two copies. Photo by Doug Colquhoun, 25/1/1978. The tram is in the Bendigo Trust "Talking Tram" livery, with a The Herald" roof advertisement. It has the destination of Gold Mine. Photo print courtesy of Port Dock Railway Museum, now the National Railway Museum. See worksheet 4311 for letter and details of prints sent to Bill Scott, 19/10/2001. Any photo credit to mention NRM Collection.On rear of copy 1 "Bendigo Tramways / 28 / Depot / 25/1/1978 6526 / D.A. Colquhoun" . Copy 2 in pencil on left hand edge "Bendigo Trust Car 28 depot 26.1.79 Douglas Colquhoun"trams, tramways, bendigo trust, depot, tram 28

Framed papers outlining the courses and coursework for the Textile College at the Gordon Institute of Technology in 1950. The courses include Woolcombing, Worsted Spinning, Woollen Yarn Manufacture, Designing, Weaving and Turning and Finishing. A digital copy of this item was made for the National Wool Museum Collection, with the original remaining with the donor. Digital TIFF file, 100 MB, showing image of framed printed paper.D.P.C. WILSON MEMORIAL BURSARIES. / Textile College / Gordon Institute of Technology. / GENERAL INFORMATION / TERM DATES 1950 ...courses, gordon institute of technology, textile college, geelong, woolclassing, weaving, spinning, coursework, 1950

Yields information about Ballarat Trams and streetscapes late 1950's on the Mt Pleasant route and advertising of the period.Black and white print of Ballarat 18 and 37, at the Victoria Street terminus, photographed by Wal Jack, 21/4/1962. Two copies. Tram has advertisements for "The Age", Whites Florists, Lancashire's. Both trams are showing "Special" and have the AETA tour boards on the front of the tram. Photo print courtesy of Port Dock Railway Museum, now the National Railway Museum. See worksheet 4311 for letter and details of prints sent to Bill Scott, 19/10/2001. Any photo credit to mention NRM Collection.On rear of copy 1 "SEC Ballarat / 18 & 37 / Victoria / 21/4/62 2092 / Wal Jack" Copy 2 "DAC" in ink, bottom right hand corner.trams, tramways, victoria st, terminus, tram 18, tram 37

Yields information about one of Geelong's trams.Black and white print of Bendigo No. 20, enroute to Golden Square. Photo by Doug Colquhoun 25/4/1960. Two copies. Trams has a front dash advertisement for Hutton's hams and roof advertisements for D. J. Osborn Plumbing Service and Bendigo Motor Co. Photo print courtesy of Port Dock Railway Museum, now the National Railway Museum. See worksheet 4311 for letter and details of prints sent to Bill Scott, 19/10/2001. Any photo credit to mention NRM Collection.On rear of copy 1"SEC Bendigo / 20 / Golden Square / 25/5/60 2121 / D A Colquhoun " Copy 2 "DAC" in ink, bottom right hand corner.trams, tramways, bendigo, golden square, tram 20

Yields information about Ballarat's trams in the early 1970's and the Sebastopol terminus.Black and white print of Ballarat 37, north bound in Drummond St South at near South St and a Holden motor car alongside. Two copies. Photo by Doug Colquhoun, 17/5/1971. Trams has the destination of Lydiard St Nth. Photo print courtesy of Port Dock Railway Museum, now the National Railway Museum. See worksheet 4311 for letter and details of prints sent to Bill Scott, 19/10/2001. Any photo credit to mention NRM Collection.On rear of copy 1 "SEC Ballarat / 37 / Sebastopol / 17/5/71 4176 / D.A. Colquhoun" . Copy 2 "DAC" in ink, bottom right hand corner.trams, tramways, drummond st sth, tram 37

Yields information about Ballarat's trams during the late 1950's and the Kenney Murray offices.Black and white print of Bendigo 2 at the Eaglehawk terminus. Two copies. Photo by Doug Colquhoun, 16/5/1971. Trams has the destination of Eaglehawk and two roof advertisements for Electric cooking. Also has the Eaglehawk Town Hall, Eaglehawk Post Office in the background. Photo print courtesy of Port Dock Railway Museum, now the National Railway Museum. See worksheet 4311 for letter and details of prints sent to Bill Scott, 19/10/2001. Any photo credit to mention NRM Collection.On rear of copy 1 "SEC Bendigo / 2 /Eaglehawk / 16/5/71 4203 / D.A. Colquhoun" . Copy 2 "DAC" in ink, bottom right hand corner.trams, tramways, eaglehawk, tram 2

Yields information about Bendigo trams, ladies fashions in the late 1950's.Black and white print of Bendigo Trust 25 at the depot. Two copies. Photo by Doug Colquhoun, 25/1/1978. The tram is in the Bendigo Trust "Talking Tram" livery, with two Roof Advertisements "Gas the Good Flame" and Myers/ Tram has the destination of "Special" Photo print courtesy of Port Dock Railway Museum, now the National Railway Museum. See worksheet 4311 for letter and details of prints sent to Bill Scott, 19/10/2001. Any photo credit to mention NRM Collection.On rear of copy 1 "Bendigo Tramways / 25 / Depot / 25/1/1978 6529 / D.A. Colquhoun" . Copy 2 in ink "DAC" in the bottom right hand corner.trams, tramways, bendigo trust, depot, tram 25

Wool samples prepared at the School of Wool Sorting, Gordon Institute of Technology, Geelong. This object hung in the Wool Exchange Building until 1985 and is now displayed in the National Wool Museum using copy prints of photographs. Wool samples were prepared at the School of Wool Sorting, the Gordon Institute of Technology, Geelong.THE WOOL INDUSTRY OF GEELONG 1935textile mills wool stores, gordon technical college - woolclassing department, textile mills, wool stores

The black border recognised the death of Queen Victoria.Handwritten letter on letterhead Public Library, Museums, and National Gallery of Victoria which was bordered in black. The paper has been embossed with the crest of the library. The letter requests copies of the Ballarat School of Mines Annual Reports for the library.ballarat school of mines, melbourne public library, national gallery of victoria, letterhead, armstrong, state library of victoria, copyright act, legal deposit, crest, emboss

Nino Corda was a Geelong based textile designer who worked at various textile mills between 1957 & 2003. He travelled the world in search of the latest fashions and techniques and developed timeless designs that were much loved by Australians. These items are on rotational display at the National Wool Museum’s ‘In the Factory’ exhibition. For many years, Nino also worked as part of the Honorary Staff of the National Wool Museum. His passion for the world of textiles provided energy and knowledge to the visitors and staff of the museum. Although Nino has now retired from his honorary position and has hung up his Australian Tartan vest, these items will continue to serve the community in sharing the stories of Australian Textile design. This notebook contains information on how to calculate and enlarge a small sample pattern into a larger textile. It is a hand-written notebook that was passed from a master to an apprentice. This notebook is written in German and belonged to George Snchabel and was given to Nino Corda, who eventually donated it to the National Wool Museum. Nino only spoke basic German so many of the passages of writing were lost to him, regardless the illustrations and little bits of German he did know made this a useful resource which was often looked upon for inspiration and guidance.The notebook has a black cover on both the front and back with no writing. The spine is in bad condition and is being held together by three strips of tape. Internally, the pages have faded to a pale peach colour with a background blue square pattern. The notebook is completed with black ink used for writing and illustration. Occasional red ink is used for highlighting and illustration.textile calculations, textile design

Video of the 1988 Australian Wool Corporation Bicentennial Collection - Wool Fashion Show held at the Sydney Opera House. Evening hosted by Michael Parkinson and attended by Prince Charles and Princess Diana. The videotape goes for 3 hours and 40 minutes. The National Wool Museum was established in Geelong, Victoria in 1988 as part of the Australian Bicentennial Celebrations. basic VHS with black encasing around internal white tape despenser and blacktape. Has label on top which reads AUSTRALIAN WOOL CORPORATION. BICENTENNIAL COLLECTION. DURRATION: 3 HOURS 40 MINUTES. DATE: 4/1/1988. PAL VHS. and label on side which reads COPYRIGHT:. ALL RIGHTS RESERVED BY THE A.W.C.. AND UNITED TELECASTERS SYDNEY LTD..Lettering. Top: AUSTRALIAN WOOL CORPORATION BICENTENNIAL COLLECTION DURRATION: 3 HOURS 40 MINUTES DATE: 4/1/1988 PAL VHS Lettering. Side: COPYRIGHT: ALL RIGHTS RESERVED BY THE A.W.C. AND UNITED TELECASTERS SYDNEY LTD.australian bicentennial celebrations

The Great Crested Grebe is the largest bird in the Grebe family. It has a long neck with a black crown and orange/black "fans" on the sides of the face. This bird can be found in all Australian states and territories and typically resides in open bodies of fresh water. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum and the National Museum of Victoria, as well as individuals such amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century. This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.A Great Crested Grebe in a tall position standing on a wooden pedestal. It has a long neck and bill with coloured plumage. The crest is black with orange and black cheek "fans" on the sides of the face. The eyes are made of glass and are a red/black colour. On paper tag: "[Austra]lian... [G]rebe... [pa]ge, 42" taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, great crested grebe

The quilt was purchased from the Wool Quilt exhibition held at the National Wool Museum in 1995. It was subsequently exhibited in the Expressions 2000: The Wool Quilt Prize exhibition in the 'Invited exhibitors' section of the show. (Jan Irvine wrote the catalogue essay for this exhibition.) The quilt is part of the "Running Stitch" Collection. This quilt is titled "Sure as Night follows Day" and was made by Jan Irvine from worn and recycled woollen blankets with wool batting. The quilt has been crazy pieced, air brush dyed and hand quilted. The quilt was exhibited in the Running Stitch Contemporary Wool Quilt Exhibition held at the National Wool Museum in 1995 and was purchased for $1800 from this exhibition. The quilt was catalogue entry no. 18. It was later exhibited in "Expressions 2000: the wool quilt prize" from 16 Sept. to 3 Dec. 2000 (extended until 2/2/2001, catalogue entry no. 26).Catalogue entry from "Expressions 2000" Catalogue, held 16th September to 3 December 2000. Introduction to exhibition "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery. Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 1 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 2 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 3 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 4 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 5 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 6 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 7 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 8 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 9 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 10 Biographical notes from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 1 Biographical notes from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 2 Biographical notes from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 3 Biographical notes from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 4 Biographical notes from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 5SURE AS NIGHT FOLLOWS DAY DESIGNER + MAKER: JAN IRVINE NSW AUSTRALIA MADE:1995...quilting, handicrafts, textile art, running stitch group, blankets, running stitch collection, irvine-nealie, ms jan

Yields information about Ballarat Trams and streetscapes in the early 1960's and the details of the Lydiard St railway gates from the north end.Black and white print of Ballarat 18, in Victoria Street, photographed by Wal Jack, 28/2/1962. Two copies. Tram has advertisements for "The Age", Whites Florists, Lancashire's. Tram has the destination of Gardens via Sturt St. Note the pan at the end of the overhead and "X" in front of the tram. Photo print courtesy of Port Dock Railway Museum, now the National Railway Museum. See worksheet 4311 for letter and details of prints sent to Bill Scott, 19/10/2001. Any photo credit to mention NRM Collection.On rear of copy 1"SEC Ballarat / 18 / Victoria / 28/2/62 2090 / Wal Jack" Copy 2 "DAC" in ink, bottom right hand corner.trams, tramways, victoria st, terminus, tram 18

Yields information about Ballarat Trams and streetscapes early 1960's and the details of the Victoria St terminus while running specials for the AETA.Black and white print of Ballarat 18 and 37, at the Lydiard St gates, while B79 crosses the street. Photographed by Wal Jack, 21/4/1962. Two copies. Tram has advertisements for "The Age". Tram is showing Special and has a number of people photographing the scene - AETA tour. Photo print courtesy of Port Dock Railway Museum, now the National Railway Museum. See worksheet 4311 for letter and details of prints sent to Bill Scott, 19/10/2001. Any photo credit to mention NRM Collection.On rear of copy 1" "73)" and "SEC Ballarat / 18 & 37 / Lydiard St North / 21/4/62 2091 / Wal Jack" trams, tramways, lydiard st, railway crossing, aeta, tram 18, tram 37

Yields information about Ballarat Trams and streetscapes, the scrubber tram and the Bell Street loop, early 1960's.Black and white print of Ballarat of No. 38 in Sturt St, just to the west of Lydiard St with No. 19 in the background. Tram has the destination of Gardens via Drummond North, No. 19, Sebastopol. IN the background is the Waldorf shop premises, tram stop signs. Photo by Doug Colquhoun 27/4/1954. Two copies. Photo print courtesy of Port Dock Railway Museum, now the National Railway Museum. See worksheet 4311 for letter and details of prints sent to Bill Scott, 19/10/2001. Any photo credit to mention NRM Collection.On rear of copy 1"SEC Ballarat / 38 / Sturt St / 27/4/54 2118 / D A Colquhoun " Copy 2 "DAC" in ink, bottom right hand corner.trams, tramways, sturt st, city, tram 38, tram 19