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Clunes Museum
Souvenir - MUGS-COLOURED GLASS
MUGS WERE GIVEN TO THE MUSEUM DURING A 'CLARK' REUNION HELD ON 26TH FEBRUARY 1994. DONOR MR. RICHARD CLARK. WAS BORN IN CLUNES 1920, A GRANDSON OF FRANCIS & JANE CLARK..1 & .2 MUGS, SMALL, PLAIN RED GLASS & CUT GLASS, WITH CLEAR GLASS HANDLES.1 & .2 "SOUVENIR FROM SHOW 1912 J. CLARK CLUNES"local history, domestic item, ornaments, decorative, events and celebrations -
Australian Racing Museum
Tasmanian Racing Club trophy for Benson and Hedges Hobart Cup
Two handled metal trophy on circular wooden base with blue felt underneath base. Tasmanian Racing Club trophy for Benson and Hedges Hobart Cup won by 'Cylai' in 1987. Small stamps in metal under handle on one side. -
National Wool Museum
Machine - Shearing Motor, Sunbeam, 1960-69
With more and more woolsheds being connected to power lines, the need for electric shearing gear markedly increased from the 1960s onwards. The greater economy made electric gear an attractive proposition to many graziers. Requiring only an electric shearing motor, for small and medium scale operations, electric shearing motors were a more economical way of shearing a wool clip. The other option for graziers was Overhead shearing gear, which also required an Engine to provide shared power to a row of shearing stations. Still working, this Sunbeam Electric Shearing Motor – Heavy Duty Model, features a slow speed motor totally enclosed for protection against dust and insects. The full bearing down tube is easily removed and stored to be out of the way when not in use (not pictured). Providing 0.5 hp, which is twice the power ever needed for shearing sheep, this buffer allows for fluctuations in voltages that can occur in rural districts. Inventor Frederick Wolseley made the world's first commercially successful power-shearing system in Australia in 1888. US company Cooper, which had been founded in 1843 as a maker of sheep dip, began selling Wolseley equipment in the USA in 1895. The Chicago Flexible Shaft Company successfully entered the power-shearing market a few years later and entered into a joint venture with Cooper. It set up a branch in Sydney and sold shearing sets, and engines to power them, into the Australian market. In 1921 the US parent company, realising it needed to make products whose sales were not as seasonal as those of shearing equipment, made its first household appliances and branded them Sunbeam. In 1933, changes in exchange rates and taxes led the company to manufacture engines and shearing equipment in Australia via subsidiary Cooper Engineering, which changed its name to Sunbeam in 1946. Although most Australians know of this company as a major manufacturer of household appliances, its rural division flourished and retained the Sunbeam name for shearing equipment even after it was taken over by New Zealand company Tru-Test in 2001. This 0.5 horsepower vertical brushed motor air-cooled engine was designed to drive a single shearing plant. From the central cylinder which features a yellow “Sunbeam” sticker, a grey 240v power lead can be found on the left-hand side. A blue capacitor is located next to this power lead. Below, two legs extend and meet to form a foot which is fastened to a wall. On the right-hand side of the engine, a specification plate is located on the central cylinder. A yellow directional arrow sticker is located on the rotating section of the engine below the specification plate (location for photography, this section is designed to rotate and hence this sticker is not fixed in this location). At the rear of the cylinder, a plastic cap with small air cut outs protects the air-cooled engine from contaminants. At the front of the engine, the location for securing the bearing down tube is located. On the right-hand side of the lock for the bearing down tube is the handle, to which a string is often attached for switching the motor on and off by a shearer bent at the waist (not pictured). Sticker. Gold writing. Front of shearing motor “Sunbeam” Plate. Inscribed. Side of shearing motor. “Sunbeam / SHEARING MOTOR / MADE IN AUSTRALIA / 0.5 H.P. / 220/240 V / 1 PHASE A.C. / 4.0 AMPS / 50 C/S. / CONT. RTG. / 1425 R.P.M. / CLASS A INSUL / NO. J244560 / TYPE: NSB5C2/49." sheep sheering, shearing equipment, sunbeam, electric shearing motor -
National Wool Museum
Uniform - 1992 Barcelona Olympics Women's Barramundi Skin Bag, Wendy Powitt, c. 1992
Uniforms for the 1992 Barcelona Olympic Games were designed by Wendy Powitt in conjunction with the AWC. Doug Pleasance, donor of these items, worked for the AWC and closely with Wendy Powitt, obtaining these uniform examples. About the Olympic Uniforms Doug wrote- 1. The Official Uniform which was used for travel and all official functions. This included: a tailored blazer and trouser/skirt (all water repellent) by Fletcher Jones, pure wool olive-green faille fabric by Foster Valley, cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, printed wool tie by T D Noone, wool nylon socks by Holeproof and footwear by Hush Puppy. 2. Opening Ceremony Uniform a lightweight wool fabric printed with floral designs that had been inspired by the work of Australian artist Margaret Preston. This included: Lightweight W/PE shorts by Fletcher Jones in Foster Valley Fabric, socks by Holeproof and footwear by Hush Puppy. 3. Village Clothing was designed to be highly visible garments to make it easy to spot the Aussie and helped to contribute to good team spirit. This included: A pure wool shirt featuring blocks of contrasting colours, and a newly developed stretch 50:50 wool/cotton fabric by Bradmill was made into shorts and jeans by Fletcher Jones.The bag is small, tanned leather with a panel on the front of the bag made from delicate, tanned barramundi skin. The handle is attached to the bag using a gold loop in the centre, top of the bag and one long adjustable strap, The main clasp of the bag features an image of the Australian emblem above the Olympic rings, the reverse of the bag is unadorned.Clasp on the front of the bag has the image of the Australian emblem over the Olympic rings. On the inside of the bag is a label- "Witney Green" "Made in Australia"1992 barcelona olympics, sport, athletes, fashion, design, uniform -
National Wool Museum
Functional object - Yarn Spinner and Accessories, John Nesbitt, 19th Century
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 -
Woods' Farming and Heritage Museum
Coffee grinder
Small black metal coffee grinder with wooden handle. Thumb screw clamp at base. White enamel inside bowl.REG. TRADE MARK. BEATRICE. No. 224,159 THE COMET. MADE IN ENGLAND O.C1 RD No 686261 -
Chiltern Athenaeum Trust
Domestic object - Spoon belonging to W.C.Busse
Wilfred Clarence Busse, born in Chiltern in 1898, His family moved to the region during the gold rush and continued to reside in the area, purchasing land adjacent the Murray River. Busse completed his secondary education at Wesley College in Melbourne then studied law at the University of Melbourne. Busse went on to become a barrister, often in the chambers of Sir Leo Finn Bernard Cussen (1859-1933) a judge of the Supreme Court of Victoria. He worked most of his life in Chiltern as a Barrister and Solicitor and gained the unofficial title of historian of Chiltern, leaving behind several manuscript histories and a scrap book. Busse was an avid fictional writer and in 1930 he published two novels. Time spent on a Victorian station in his early twenties, as well as careful documentary research, informed the writing of his historical novels of bush life. "The Blue Beyond; A Romance of the Early Days in South Eastern Australia” and "The Golden Plague: A Romance of the Early Fifties." "The Golden Plague” won the T. E. Role gold medal for the best historical novel which went on to become a best seller. Busse often drew inspiration for his novels from his younger years living Chiltern. His passion for the region lead him to write “The History of Chiltern” which was published in a serial form in the Chiltern Federal Standard from 1922-1923. Wilfred Clarence Busse was a member of Chiltern Athenaeum (where this object is now held) up until his death in 1960, he is buried in the Barnawartha Cemetery. The leaf shaped motif of this particular spoon appears to be stylised in a simple form of decorative arts and craft or even Art Nouveau style favoured in Europe between 1880-1920 and less representational than examples of Australiana flora captured in silversmithing from the 1850's onwards. According to Christine Erratt, due to the goldrush in the 1850's, there was increased wealth in the colony and an influx of immigrants from Europe to Australia who brought with them silversmithing skills which began ‘the golden age’ of Australian silver', Erratt says that 'Australia's unique flora has been portrayed in the decorative arts since the early colonial times of the last decade of the 18th century. The use of Australian flora to decorate silverware is of particular interest and diversity'. It is likely that those producing silverware at the time would be drawing on the decorative arts movement while incorporating elements of the natural beauty in the flora of their newfound environment into the silverware they produced. There are no discerning maker hallmarks to place where it was produced or ascertain the material accurately.Wilfred Clarence Busse was of social significance to Chiltern, he helped to document the cultural story of the area in his published works "The Golden Plague" and "The Beyond Blue" by recounting his own upbringing in a bush lifestyle. He was a respected Barrister and was the unofficial historian of the Chiltern Athenaeum for many years. This spoon represents a window into the domestic life of this person who was well loved in the area, and it continues its relationship to Busse as well as Chiltern by being held within the very collection he helped to maintain in his life. Domestic objects tell us the story about how people lived, objects of daily use hold particular meaning in that they can tell us the story of an individual, we feel closer to their life and habits, it humanises and connects us across time. A tarnished small silver teaspoon with leaf-shaped head and slim handlesilverware, wilfred clarence busse, busse, chiltern, chiltern athenaeum, federal standard, t. e. role, "the blue beyond, a romance of the early days in south eastern australia”, "the golden plague: a romance of the early fifties.", "the golden plague”, wesley college, university of melbourne, sir leo finn bernard cussen, supreme court of victoria, gold rush, murray river, “the history of chiltern”, silversmithing, spoon, decorative arts, floral, flora, australiana, australian flora, arts and craft movement, australian silver, cussen -
Tatura Irrigation & Wartime Camps Museum
Domestic object - Sewing Box
The sewing box was owned by Ian Baumert's mother, Magdalene (Magda) Baumert nee Beilharz who was an internee in Camp 3 compound B in Tatura WW2.Handmade, 2 x 3 tiered sewing box, made from scrap wood found in the camp. Each tier is held together by 3 pieces of wood that when you pull the handles apart it opens to get inside. One long box and 2 x 2 smaller boxes with a lid on the top two boxes. The left hand lid has a kookaburra sitting on a tree branch with a green circle behind. The letter "M" is below and to the right of the kookaburra. The right hand side has a green circle with a Koala and her baby on her back. The letter "B" is below and to the left of the koala. Each lid is held on with two hinges."M" "B" Magdalene (Magda) Baumert (nee Beilharz)ian baumert, magdalene baumert, magdalene beilharz, magda baumert, magda beilharz, camp 3 internee, sewing box, internee craft -
Tatura Irrigation & Wartime Camps Museum
Tin box, First Aid Kit
Used as a first aid tin for Reilly's Flour Mill. Contents still inside (3 unknown measuring devises, Zain Buk ointment, APC Bottle, Rexona ointment, tin of Zonas adhesive plaster (small roll inside), 2 small rolls of gauze bandage, piece of wadding, 3 different size finger stalls, temperature gauge, tweezers).Black tin box with catch and oval handle, hinged lid.first aid kits, reilly's flour mill -
Tatura Irrigation & Wartime Camps Museum
Seed Broadcaster, early 20th century
Used by local farmer, Tatura district, for 3 generations to broadcast small areas or missed areas or seed (cereals, clover pasture, lucerne).Canvas bag with shoulder strap attached to hand driven broadcaster. Wheel with handle when turned drives cogs attached by axle to spindle with blades to propel seed.CORNISHagricultural equipment, early farm equipment -
Tatura Irrigation & Wartime Camps Museum
Suit case, 1940's
Used as school case, then container for keeping Methodist and Uniting Churches treasurers correspondence and records. These include Montogomery (builder) tender for new Methodist Church, Tatura late 1950's.Small brown leather suit case. Metal clasps, plastic handle, reinforced corners and joins.school case, uniting church of tatura, methodist church tatura, montogomery builder -
Maldon Vintage Machinery Museum Inc
Motor Mower, Mid 20th century
Atco cylinder mower with catcher and rollers. Large metal back roller, wooden small front roller. Foot operated starting mechanism. British coat of arms on catcher featuring lion and unicorn signifying royal appointment of mower manufacturer Mower painted green with green cylindrical petrol tank mounted above the engine between the handles. Engine controls on right side of handle. Makers name on catcher and petrol tank in gold paint.machinery., cylinder motor mower -
Maldon Vintage Machinery Museum Inc
Motor Mower, Maker's name "Charles H Pugh"
... . Rectangular petrol tank mounted between the handles above the engine... to the Queen. Rectangular petrol tank mounted between the handles above ...Green painted cylindrical lawn mower with rear roller, pull start and no catcher. Regal coat of arms on front housing signifying maker is official motor mower supplier to the Queen. Rectangular petrol tank mounted between the handles above the engine. Small wooden roller in two parts on front. Pale grey plastic cover on starter mechanism. Height adjustment on front roller. Engine controls on right handle.Possibly "Eureka" model.machinery, cylinder motor mower -
Maldon Vintage Machinery Museum Inc
Motor Mower
OGDEN early model cylindrical lawn mower. Small back roller, no catcher, rope start. Small gold painted petrol tank mounted between handles for gravity feed. Belt driven cylinder blades, aluminium engine cowl, rubber rimmed wheels, engine control on RHS handle."OGDEN" painted on engine cowl.machinery, motor mower -
Maldon Vintage Machinery Museum Inc
Motor Mower, c1970's
Rotary mower made by "MASPORT", orange with yellow and white engine housing. 4 rubber tyred plastic wheels, 2 large on back & 2 small on front. Pull start, single bar rotary cutter. Chrome plated folding handle with white plastic horizontal cover at top. Hinged safety flap at rear.Cast into base "M MASPORT". The M has a circle around it.machinery, motor mower, rotary -
Port Fairy Historical Society Museum and Archives
Functional object - Manicure set, Victorian era
Items belonged to Mrs L.Boltonscissors (arm broken), 2 small jars, nail buffer, file, tweezers, and two other manicure implements all with shaped metal handles.Steellocal history, manicure, personal effects, l.bolton -
Port Fairy Historical Society Museum and Archives
Tool - Riding Crop
Leather ladies riding crop with leather handle embellished with embossed silver trim. A small silver ring at the base of the handle allows for the attachment of a wrist strap. The whip end is of plaited leather..7AIR Mareks (indiscernible)riding, horse -
Vision Australia
Photograph - Image, Leatherwork jig, 2018
Leatherwork was offered to clients at the Ballarat office of Vision Australia, involving the use of jigs to help align punch marks. This jig was donated by "G.A. Arnold P/L 98-106 Moray St, South Melbourne" and its users were advised to "Clean and oil weekly" according to the 2 metal plates attached to the base plate that the jig was affixed to. A small metal bar runs across the middle of the base plate, to assist in correct alignment, with a black ball handle situated above a metal rod to allow users to push downwards on to a secondary rod (held in place by a cylinder) at the end of which is a punch. The cylinder that holds the punch in place is attached to a broader black metal attachment that is screwed into the base plate. The punch remains at the centre, however this image was taken before the centre's refurbishment.Metal sheet with ridges to align items above a punch activated by a lever pushed downwardsG.A. Arnold P/L 98-106 Moray St, South Melbournerecreation equipment, vision australia -
Clunes Museum
Photograph
1,SMALL BLACK AND WHITE PHOTOGRAPH OF FREDRICK CONRAD WEICKHARDT BORN 1905 DIED 1975 AGE 70 YEARS ORIGINAL PHOTOGRAPH.2, BISCUIT COLOURED WINDOW ENVELOPE DECORATED WITH RED LINE, PRINTED ADVISE ON HANDLING NEGATIVES ETC.ENVELOPE. FREDRICK CONRAD WEICKHARDT HISTORIAN DIED 1978 AT AGE 78local history, photography, photographs, weickhardt -
National Wool Museum
Tool - Drench Gun, 1940-1950
There are several different designs of drench guns within the NWM Collection that show the change in their development over time. On the left side of this gun white paint indicates the adjustable dose lever. It is a sliding scale from 10 to 0 cubic centimetres of liquid (now typical measure in millilitres). It also has a small and straight tip suggesting this gun was typically used for dosing Lambs as opposed to ewes. The manual adjuster helped to minimise cases of overdosing which can be fatal for livestock while the additional curvature helped to ensure the liquid reached the desired location within the sheep’s mouth. This desired location is on the left rear of the sheep’s tongue (from the sheep’s point of view) as this is where the oesophagus is located. The main risks are that drench may be delivered into the lungs via the trachea or “windpipe”, which can also prove fatal. The opening to the trachea which leads to the lungs is in the middle of the back of the throat. Another risk is the throat can also be damaged due to rough handling.Silver metal with black finishing drench gun. Straight tip on gun protrudes from the body which feature a thin squeezable trigger to the front of the body. The main bulk, which the trigger is squeezed towards has silver cylinder on top of the handle where tubing carrying the liquid drench into the gun attaches. The small section of tubing still attached has a yellow/orange appearance from remanence of drench which would have been this colour.sheep drenching, veterinary instruments -
National Wool Museum
Ceremonial object - 1988 Seoul Olympics Closing Ceremony Paper Lantern, c. 1988
This paper lantern was used by Australian athletes in the ‘Lantern Dance’, the last program of the closing ceremony, the lantern is called “Ch’ong sa ch’orong” and is traditionally used during weddings and festivals.When closed the lantern appears as a large, red spiral bound book with detailed inscriptions describing the way to correctly use the lantern in the ceremony. This description appears in several languages as well as a drawn depiction. When opened latticed crepe paper forms a cylinder. The two thirds of the paper is dyed dyed blue and the last third is dyed red. A small battery pack is used to light the lantern.GAMES OF THE XXIVTH OLYMPIAD SEOUL 1988 o The last program of the Closing Ceremony is called “Lantern Dance”. When all the performers enter the stadium holding lanterns, turn the paper board inside out and press the ends so that they snap shut. This will then allow the lanterns to light up. Hold the lantern by the handle at the centre and gently rock it above your head as shown in the picture. o Listen to the announcements via the ear-phones and follow the signals from the guides for further instructions. o* This lantern is called “Ch’ong sa ch’orong” and was traditionally used during weddings and festivals. This inscription is repeated several times in various languages on the cover of the lantern.1988 seoul olympic games, closing ceremony, lantern dance -
National Wool Museum
Picker
Wool picking machine designed to separate locks of wool before it is carded and spun. The picker opens the wool’s locks which makes it easier to send the fleece through a carding machine. It does this by teasing the fibres (which can also be done by hand just by pulling the lock structure apart), but a picker does this in bulk and much quicker than what can be done by hand. It is possible to spin fibres directly after the picking stage; however, it is usually more desirable to card and blend them with other fibres. Typically, at a textile mill, a picking machine can separate enough lengths of fibre for a full day’s work after just a single hour. It will also help to remove any vegetation matter or other any unwanted elements that may be present in the wool. The quality of the casting on this machine suggest that it was made locally, either in Australia or New Zealand. Mike Leggett, the donor of the machine, acquired it from New Zealand where the seller said it had been used by his father to pick wool to make hand stuffed horse saddles. Mike attempted to used it a couple of times to pick alpaca hair, but the speed of the attached motor caused damage to the fibres. The motor is thought to be an added attachment, sometime around the 1960s judging by its age, while the machine itself is thought to be dated around the 1920s. The machine works by inserting wool through the rollers. Initially there was a conveyor belt feeder system which was powered by the handle on the side. This conveyor belt has been removed however, most likely due to age and deterioration. Wool is now fed through the initial teeth and is met by a spiked rotating drum which works to separate the fibres. The separated fibres would then complete a loop of the drum before being dispatched somewhere below, around where the motor presently sits, at a rapid rate of speed. Typically this wool will be collected in a closet or large catchment area, as can be seen from the 8:47 minute marker in the linked video (link - https://www.youtube.com/watch?v=kMjx-t3tH3A). It is not apparent how the wool is collected with this machine. Red and green machine with four green legs currently attached to a wooden pallet with wheels for easy movement. The green legs lead up to a red central circular barrel from which many attachments are present. Also present on the wooden pallet is a small black motor which is attached by a rubber belt to the central drum inside the red barrel. The belt spins the wooden drum via a dark red circular plate attached to the side of the drum. On the other side of the red barrel, a green handle extends for turning the picker’s conveyor belt feeder system. Two green walls extend forward from the central red barrel, guarding either side of where the conveyor belt would have been. At the start of these walls is a wooden cylinder, which the conveyor belt would have wrapped around, followed by two interlocking gears which rotate and accept the fed wool. The red roof extends over the central cylinder from here, securing the wool inside and protecting hands from the heavily spiked internal wooden cylinder which rotates and separates (picks) the wool. Extending over the top of this red roof is a green handle which reaches to the back of the machine (not pictured). Here it accepts a weight to ensure pressure is always present for the initial feeder interlocked gear teeth. There are two large gear cogs on the rubber belt side of the machine and 3 small gear cogs on the handle side of the machine, all coloured green. A green handle is also present at the rear of the machine, below the location from which the weight is hanging. A power cable extends from the motor and there are two adjustable metal rods on the top of the machine, the purpose of these rods is presently unknown. Black texter. On top of drum. Wording: HG3707 Wording. Imprint: BRACEWIND BLYN On motor. Wording AEIwool picking, textile manufacturing, wool processing -
National Wool Museum
Tool - Drum Carder, Kacoonda, c.1980
This drum carder was purchase by Gill Stange at the Whittlesea Show in the late 1980s. The carder allowed Gill to spin fleece from her own Merino sheep. Merino is a difficult wool to spin when compared to other popular varieties, such as Corriedale or crossbred wool. The carder helped her to tease out the fleece, slightly separating the fibres before spinning. It also allowed for easier removal of foreign matters, such as seeds and mud. Little is known about the Kacoonda brand who produced the carder. They were Australian based and appear to have only operated throughout the 1980s.The carder has one large central roller with two smaller rollers on either side. The larger roller rotates in the inverse direction of the two smaller rollers. The carding cloth is a mint green in which closely spaced wire pins are embedded. The shape, length, diameter, and spacing of these wire pins is that of a standard carder. On one side of the carder a handle is found that is used to spin the three rollers. Additionally on this side is a sticker which reads “The Kacoonda Carder. Subject to Patent Action”. A Silver grip for the easy movement of the carder can also be found high on this side. On the opposite side of the carder, many nuts and plates can be found which hold the rollers in place. This is opposed to the other side of the carder, which has a brown plastic cover plate attached underneath the handle. The walls providing a path for the carded wool to follow when being carded, are made of wood. The carder comes complete with a teasing tool. This tool has the same mint green carding cloth as the carder’s rollers. It is attached to a simple wood handle for ease of use.Wording, green, printed. Sticker on side of carder. “The Kacoonda Carder / SUBJECT TO PATENT ACTION”whittlesea show, drum carder, textile production, carding wool, kacoonda -
National Wool Museum
Tool - Stencil, 1983
The story of 90 years of wool classing between father & son begins in 1936, when a young boy by the name of Stanley James Hucker walked through the doors of the Gordon Technical School in Geelong. Born in 1921, Stanley was 15 years of age when he began his 3-year course in Wool Classing. 30 years later, Stanley’s second son Denis completed the same 3-year wool classing course. Beginning in 1966, Denis attended the same Gordon Technical School and walked the same halls as his father before him. Stanley finished his course in 1938. He went back to the family farm in Lake Bolac for a brief period before enrolling in the Second World War. At the completion of the war, Stanley returned home and married before gaining a soldier settler allotment, north of Willaura. This enabled Stan to use his wool classing knowledge. He ran between 1,500 and 2,000 sheep for many years, while his wool classer stencil also allowed him to go out and class at various sheds around the area. He held his stencil from 1938 until he retired at the age of 60 in 1981. On retirement, his second son Denis was working in the district, managing a local property while also leasing land himself. Upon his father’s retirement, Denis had the opportunity to lease his father’s farm, an opportunity he could not refuse. Denis had finished his wool classing course at the Gordon Technical School in 1968, graduating dux of his class. He began working with a local contractor and started classing wool in his team. Denis gained a great deal of experience working as part of this team in big sheds of up to 8 stands servicing between 10 & 20,000 sheep. It was not all smooth sailing for Denis however, and he soon learnt an important lesson. Class wool the way you’re taught, don’t listen to the owner standing over your shoulder. At a clip of Corriedales near Casterton, Denis was pushing too many fleeces into the line of fine wool. This resulted in a notice from the Australian Wool Exchange (AWEX) “mixing counts too much, submit three clips for inspection”. Denis was able to submit 3 clips with no further complaints, however, this proved a valuable lesson he would never forget over his long career classing wool. In the early 1980s, when Denis was leasing two properties including his father’s, things were going well until drought struck. February 1983 was the date of the Ash Wednesday bushfires, and saw Melbourne have three days over 40 °C for only the second time on record. This period saw Denis give away farming, turning towards contracting work instead. After the difficult times of the early 1980s, the next two decades were a good time for the sheep industry. 15 micron wool was selling for prices between 4 to 5,000 cents per kilo, double what you’d expect for the same wool in 2022. In 1995 a single bale of wool sold for a million dollars. This was a good time for Denis too. His contracting work saw him employing local shearers and shed staff. His team was involved with the shearing and classing of more than 130,000 sheep. After 20 years of contracting, it was time for Denis to transition into the next phase of his life. He gave up independent contracting, preferring instead to return to being a member of someone else’s team. In 2018, having completed 50 years of wool classing, it was time to call it a day and retire completely. At the annual Gordon Wool School Old Students Association dinner held in 2018, Denis was presented with his 50 years as a registered wool classer stencil awarded by the Australian Wool Exchange (AWEX). This is a rare honour achieved by few. As of February 2020, a total of 430 wool classers had achieved this 50-year milestone. For Denis however, his proudest achievement is achieving 90 years of wool classing with his father. The National Wool Museum is proud to share the collection of objects gained from 90 years in the wool classing industry by Stanley and Denis. This ranges from Stanley’s first stencil and Wool Sample book, started when he first attended the Gordon in 1936. The collection concludes 90 years later with Denis’ 50 years of wool classing Stencil. The collection contains many more objects, all telling the story of these 90 years, and the hard work invested by this dedicated father and son duo. Thin sheet of metal with letters and numbers cut to produce a consistent pattern for the surface below through the application of ink. In small text on the top edge of the stencil two separate phrases are engraved.” A.W.C. PROPERTY NOT TRANSFERABLE” and “PROFESSIONAL“. This wool classing stencil belonged to Stanley Hucker. It was his last Wool Classing Stencil. Dated to 1983, it is 45 years older than his first stencil. The role of a Wool Classer is to sort, classify, and grade wool into various ‘lines’ so that it can be sold for best market price. Wool Classers are typically also tasked with the managing and supervising of wool-handling teams. The stencil is used in the final step of preparing a bale of wool for sale. It is branded across the front of a wool bale to indicate the quality of the wool, with the classers number used as a seal of guarantee.Engraved letters. “A.W.C. PROPERTY / NOT TRANSFERABLE” Engraved letters. “PROFESSIONAL“. Cut imagery. Sheep’s head Cut letters, numbers, and imagery. “83 (Image Australia) P I / 50922”wool classing, stencil, 90 years wool classing between father & son -
Stawell Historical Society Inc
Photograph, Sprague Sporting Trophy inscribed and dated 1889
Sprague Sporting Trophy inscribed and dated 1889Colour Photogaph of A Trophy along side a small cruet set on a blue background. Trophy has a figure of a footballer on the top and has two handles. Trophy size is about 14 Inches.Inscribed on one Side Sprague Junior Challange Cup Won By The Warriors On the Other Side Presented to J.Carr Capt Stawell 1889 The Trophy is about 14" high ohoto taken alongside small cruet ste give an Idea of size.sport -
Stawell Historical Society Inc
Memorabilia - Realia
Vase – Small Mauve/Pink china Vase with Violets at Handle & Leavesstawell -
Stawell Historical Society Inc
Memorabilia - Realia
Wooden Bellows, small leather centre hole in centre of wooden backing. Handle with leather hanging. Long metal spout. stawell -
Stawell Historical Society Inc
Memorabilia - Realia, 1880-1920
Small Oval Shaped Iron with wooden Handle (Collar Iron)stawell -
Stawell Historical Society Inc
Memorabilia - Realia
Small hand held steel Scythe with wooden handlestawell -
National Wool Museum
Screwdriver
A small screwdriver with a wooden handle, associated with the "Beehive Sock Knitter"A small screwdriver with a wooden handle, associated with the "Beehive Sock Knitter".knitting textile machinery machine knitting, hosiery, knitting, textile machinery, machine knitting