The Medal was won by WJ Mahon, Best Bowling Average, Yackandandah Cricket Association 1923-1924' It was donated to Yackandandah Cricket Club by Mrs Evelyn Drummond, daughter of William James Mahon. An Allans Flat cricketer, Jim Mahon was a third-generation Allan's Flat/ Osborne's Flat resident. His father, Henry, keenly followed football and cricket. His son, Mervyn, Captained Yackandandah in cricket and served as Club Treasurer. Jim, like Merv, represented his association at Country Week Cricket. (notes accompanying medal on donation - source Yack Cricket Club)The item is of local significance, in the story of cricket in Yackandandah. Cricket has been played in the district since 1860, and the Medal was an important exhibit in a celebration of 150 years of cricket in Yackandandah, 2010. The medal is a good example of a practice used in the creation of trophies, where a base item is created, and a sport-specific item added. In this case the addition is a representation of a cricketer, with arm aloft, ie a bowler. Cavell, 1990, observes that Aronson & Co used this to create medals/medalets for a variety of sports, and includes a selection of images of different bases to which representations of different sports are added. Another example is the Woy Woy Champion 1925 awarded to cyclist K. Ross, held by the National Museum of Australia. The same practice is used extensively now, albeit in plastic and synthetic wood, rather than gold.Gold, wreath shaped fob medallion/medalet. Central circle (attached as a separate item) shows cricketer holding aloft a ball. Back engraved. Attached to silver-coloured, metal link chain with bar and hook fastener. Won by WJ Mahon, Best Bowling Average, Yackandandah Cricket Association, 1923-24 season.Bryson's Medal / won by / W.J. Mahon / Best Bowling Avg / Yack Assn / 1923'24. Marks: maker's mark (Aronson & Co), 9, sheaf of wheat; PT APPFORsport, trophies

This item was donated to the museum by Joseph Dallimore. Dallimore was brought up at Lake Gillear, and as a young man he left Australia to travel overseas both to help his parent's business in the wool trade and for pleasure. He wrote many letters to his parents keeping them updated with the prices he received from selling wool and on his travels. Later in life Dallimore enlisted in the Australian Army and went on to have a distinguished career during the Boer War. He would have collected this piano whilst on service in South Africa.South African thumb piano from the Zulu culture. It is a wooden panel board with 15 iron finger keys in it. They are stuck onto the wood at one end with some sort of glue and also held in place by an iron rod passing over the top of them. At the bottom of the board is a metal panel and attached to that is a small circular cymbal. There is a string tying the metal panel to the wooden board.There are no original markings on this although the original museum label is still stuck to the bottom which says, ' Native piano ( Mashona)' on it in script.south africa, joseph dallimore. war, boer war, zulu, finger piano, music

Eltham Council (now the Shire of Nillumbik) commissioned this work in 1989 to create an entrance / gateway to Edendale Community Farm. It was also aided by a grant from the Ministry of the Arts (now Arts Victoria). The former name of this work was "Gateway to Edendale Farm". Edendale Farm is a demonstration farm modelling sustainable environmental practices, providing support to the local residents of Nillumbik. Established in 1986, the land was purchased in 1970. It was previously an English gentleman's residence and was used for grazing. It consists of 5.6 hectares, with the Diamond Creek meandering through the property. The Victorian Fences Act 1968 governs liability of occupiers of adjoining lands to fence, and deals with disputes between neighbours regarding boundaries fences and costs. This work took into consideration ideas and suggestions from residents and committees, who required the use of recycled materials and that the work celebrate man's relationship with nature, animals and the earth, as well as relate to the fence-line on the far side of the carpark. Trembath also absorbed significant aspects of local history, making references to Eltham's agricultural past, the clearing of the land, the destruction of trees, the ruthless pruning of trees by suburban Councils and incorporated such Australian features as the post and rail fence. 'The Fences Act 1968' is significant for aesthetic, historic and social reasons at a regional level. It makes prominent the historical and social significance of Edendale and the rural aspects of Nillumbik. The use of existing tree stumps and salt pots in the work explores the iconography of the countryside such as the isolated farmhouse, pioneering farming practices, post and rail fencing and the regrowth of lopped trees. The title of the work, as well as the extensive community involvement in its creation, also makes reference to the Victorian Fences Act 1968, which makes neighbours jointly responsible for the cost of construction and maintenance of fences in the partitioning of land for settlement. 'The Fences Act 1968' has been classified as of regional significance by the National Trust of Australia. The work is an installation of wood and metal, approximately twenty five meters long. The design is very informal and rustic and runs the full width of the fence-line. It comprises groups of recycled tree trunks fitted with metal caps (chrome-nickel 'salt pots' that are shaped like tall bowler / top hats). Metal rods protrude from the trunks and some of these rods have metal birds. Two larger, sentinel-like stumps at the two outer ends have metal flame-like wings, which bend inward. To the left of the entrance, a simple architectural element indicates an isolated farmhouse. The rustic fence runs between the groups of tree trunks with native planting in clumps along it. The fence-line incorporates a functional engineered double gate and post and rail fencing. There may be many interpretations of the work and the intention is to stimulate interest and imagination rather than alienate. Interpretation is based on the personal experience that a visitor brings. The artist recommended that no explanation of the design logic be positioned with the work. N/Apublic art, sculpture, edendale, recycled, wood, metal, fences act 1968, gate, trembath, salt pot, tree stumps

In the early 1970s, Arthur Boyd bought and restored a large, two-storey traditional farmhouse called Il Paretaio. Situated on the crest of a hill and surrounded by fields and olive groves, it is five kilometres from the village of Palaia in the province of Pisa, Tuscany. Boyd established this farmhouse as a residency programme, (which was later managed by the Australia Council). The residency program ended in 1990. Anthony Pryor undertook an Australia Council residency at Paretaio in 1984. This work is one in a series made during his time there. This work was entered into the Shire of Eltham Art Award in 1985.Pryor is an artist of national significance. This work is an example of his series of 'boxes' made principally for his own pleasure and often swapped with artists and other friends as soon as they were finished. The 'box' series was part inspired by Japanese techniques of wooden construction. Pryor first visited Japan in 1975 and was immediately drawn to Japanese methods of working with stone and wood. Many of these boxes are based upon the principles of the Japanese Zen Buddhist monk Sengai Gibon (1750-1838). This work relates to Sengai's famous hanging scroll Circle, Triangle and Square in which the circle can be read to stand for the cosmos, the square for the individual, and the triangle for aspiration. A heavy, box-like (cube) structure created from huon pine, with bronze, brass and stone elements. Within the cube is an eastern inspired, rear lattice wall in combination with bronze domestic fittings, and symbols (cube, pyramid and circle). Metal lightning, clouds and wooden rainbow hover over an asymmetrical bronze bed floating within the cube. A chair leans and a tilting ladder reaches towards the sky. Stamped into wood: lower right 'ANTHONY PRYOR PARETAIO'huon pine, pryor, brass, bronze, stone, cube, paretaio, italy, eastern, japan, sengai gibon, symbols, zen buddhism, sculpture, personal

The (logging) truck carries a representation of John Glover’s painted landscapes, which Cox has painted on a solid block of wood. John Glover is one of Australia’s most celebrated colonial landscape painters. Born in England, he was a highly successful water-colourist and painter of landscapes in the tradition of French artist Claude Lorrain. Arriving in Australia in 1831, Glover adapted his picturesque style and luminous technique to his new surrounds, creating naturalistic and atmospheric paintings of Australian nature, settler life, and Aboriginal culture. Working out of doors, Glover developed an understanding of the unfamiliar Australian landscape, especially the twisting forms of native eucalyptus trees. His direct experience of nature, as both pioneer settler and painter, resulted in a new approach using a subtle palette of olive greens, ochres, misty greys and intense blues, and layered glazes of mauve, grey and gold, to portray Australian light and atmosphere. Dale Cox continues the ongoing preoccupation and tradition of landscape painting in the Nillumbik area and our impact on the environment in a contemporary way. The truck creates a playful nexus between painting (representational landscape) and sculpture, purposely bluring boundaries across these traditionally distinct disciplines. ‘Ghost’ seeks to convey the idea that when we remove something significant from a location, like the landscape itself, the remaining ‘place’ changes to become a new ‘place’. This may seem self-evident until we think more deeply about location and landscape. The white truck is a ghost, an ethereal, transient being that spirits away an entire place, forever removed from itself, and forever changed. Logging wild trees can never be like harvesting a ‘crop’. Logging removes a landscape, and changes a place forever. The ‘packaging’ of this painted landscape highlights the anomaly between commodity and our environment. Dale Cox was a local artist and this work was highly commended at the 2012 Nillumbik Prize. White plastic toy (logging) truck with a landscape painting on a wooden block. The landscape painting is reminiscent of paintings by colonial artist John Glover. N/Alandscape, truck, sculpture, environment, john glover, colonial, painting, ghost, nillumbik prize

Painter, printmaker and installation artist John Wolseley was born in Somerset, England. He lived and worked throughout Europe before relocating to Australia in 1976. His work explores how people dwell and move within landscape. Wolseley see's himself as a hybrid mix of artist and scientist; one who tries to relate the minutiae of the natural world - leaf, feather and beetle wing - to the abstract dimensions of the earth's dynamic systems. Using techniques of watercolour, collage, frottage, nature printing and other methods of direct physical or kinetic contact Wolseley finds ways of collaborating with the actual plants, birds, trees, rocks and earth of a particular place. George Baldessin was one of the first artists John Wolseley met when he arrived in Australia in 1976. Both immigrated to Australia and connected through this shared experience. They were both at 'Realities Gallery' with Marianne Baillieu in the 1970s and 80s. George Baldessin (1939-1978) was born in San Biagio di Callalta, in the Veneto in Northern Italy and arrived in Australia ten years later. A printmaker and sculptor he built his bluestone studio at St Andrews (Nillumbik) in 1971 with his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George. 'Life world of the Longicorn beetle' is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. Communion and collaboration with nature are central to Wolseley's practice. He assembles different drawing methods to represent a kind of inventory or document about the state of the earth. His interest is to paint the processes and energy field of the living systems of this land. 'Life world of the Longicorn beetle' is his continued exploration of Australia's natural eco-systems. The beetle attacks the eucalypt and in the process of tunnelling into the wood of the tree leaves scribbly patterns. The work celebrates the cycle of life, and the wisdom and delicacy of these creatures. This three dimensional work consisting of three layers of paper is a varied edition, offering just the slightest difference between each print, reflective of variation in nature. The found log used as a woodcut acknowledges the interconnectedness of nature and living beings; the log is not apart from the art and the beetle has become an active artistic collaborator. An intimate and layered print of a tree log with line trails from the Longicorn beetle. Patches of pink, yellow and orange watercolour placed randomly. Woodcut from found log and etching on chine-colle with water colour on Gampi (top layer), Mulberry (middle layer) and Arches (bottom layer) paper. In pencil (handwritten): low plate: left '14/25' (edition); centre 'Life world of the Longicorn beetle' (title); right 'John Wolseley' (signature); low paper: right emboss 'GB' (Baldessin Press & Studio monogram)woodcut, etching, chine-colle, landscape, environment, longicorn beetle, print, baldessin, ekphrasis2018, eco, mixed media

This item presented by the indigenious community to their local police officer on the the occasion of his joining the Armed Services in 1942 which resulting in his interment in ChangiUnique personal gift to this ServicemanLacquered wood hand made. Hand grip to rear"CENTRAL AUSTRALIA / 1942" RISING SUN Emblem at centre ("AUSTRALIAN COMMONWEALTH MILITARY FORCES") Pinstriping in silver and red.ww2, shield, central australia, police officer, storey, indigenous gift

Book entitled "Handbook for Woolgrowers" issued by the Australian Wool Board, 1950.Book entitled "Handbook for Woolgrowers" issued by the Australian Wool Board, 1950.wool growing, australian wool board, woods, mr george

Information booklet about the economics of wool grwoing, produced by the Australian Wool Board.Information booklet about the economics of wool grwoing, produced by the Australian Wool Board.agriculture - industrial relations, australian wool board, woods, mr george

Text panel produced by Elders to accompany display of coat. 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 SA 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 as well as this text panel used by Elders were also donated at the same time.Text panel with black and red text on cream paper, framed in wooden frame and glass, with hanging wire.shearing, elders limited, groves, mr mal groves, dutchman station, south australia

Video recording, produced to accompany display of coat. 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 SA 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 text panel giving the history of the coat as well as this video was also donated at the same time.Video recording, in a white case with Tasmanian Trades and Labour Council with compliments slip printed on yellow paper inserted into back sleeve.shearing wool - history, elders limited, groves, mr mal groves, shearing, wool - history

Alan, born at Cobram on 25 February 1920, was a member of the Dunstan family of Yarrawonga and member of the Royal Australian Navy Band. All of his siblings were musical. The portrait hung in the home of Alan's parents Joseph and Harriet Dunstan who lived at 40 Hume St Yarrawonga. (now the site of Karana Nursing home). After their death the portrait was in the possession of Alan's youngest sibling Dawn White (nee Dunstan). Dawn passed away in 2016. Alan enlisted at Yarrawonga on 4th August 1941 and served on HMAS Australia the flagship of the Australian Navy.no 24862. At the time of his death 25 February 1945 he was serving on the HMAS Rushcutter. He is buried at Rookwood War Cemetery, Sydney. Service Ornately decorated oval shaped frame containing hand coloured photo of Alan Dunstan. Frame made of painted pressed woodWesley Durburtiry??

Recttangular pine wood base. Metal spring, bar and pin nailed onto it. Can be loaded with cheeser or bread to entice rat which trips the mecchanism when set (see photos). Made to catch a large rat. Writing is embossed on the wood in brown.Ezyset Supreme Rat Trap Made in Australia

Square tin with wavy edge and blue lid and picture of children playing cricket on two sides and ladies sitting drinking tea on the other two.Bushells Limited Edition 2005 Collectors Series. "Australian Communities"

Olive green tin with squatting man drinking a cup of tea on one side. Man sitting, boiling a billy on the other side. Description of how to prepare Australian Billabong Tea on one side. Description of Billabong Tea on the other side.

Small oval shaped yellow tin, with Easter pictures.Easter bunny on lid, Easter eggs around side, 180g milk chocolate Easter eggs. Imported and Marketed by: Confectionery Link Pty Ltd. Product of Australia. Tin made in China.

Coloured Postcard Murray Views No. 7. Cato Park Stawell Victoria. The three black and white photos are missing the larger palm tree on the right in the foreground. The view is of the lake surrounded by trees and bench seating. One colour post card Murray View No 7 Cato Park Stawell Victoria plus two similar black & white photos one smaller the other an enlargement. Also a small B&W photograph in Album 14, p28. The post card is a view of a section of the lake surrounded by willows, 2 tall pine trees and one large palm tree on the right. The lake is also surrounded by 3 concrete & wood bench seats with maybe a 4th in the distance. Murray View No 7 Cato Park Stawell Vic. On the back "Post Card Real Photograph produced in Australia by Murray View, Gympie, Q".stawell

A rare program from the time when films were shown at the Athenaeum Theatre while Frank Talbot leased the theatre. The program has a managerial announcement from Talbot announcing the new policy: "under which the theatre will be devoted exclusively to English and Australian pictures". The company supplying the British films was called British Dominion Films Ltd. Talbot also stated: "It will be part of the managerial policy to screen such Australian films as may be available". The films were preceded by "The Herald" news reel and "The Daily Dozen at the Zoo". The theatre orchestra, playing before and during interval was conducted by Mr J Kost. The music included "Tales of Vienna Woods by Johann Strauss and selections from Sullivan's "The Pirates of Penzance". The program represents a time when films were shown at the Athenaeum Theatre. Records indicate that graphic entertainments started with magic lantern slides in the 1890s and continued with silent movies. The first full-feature film shown in Australia was "The Story of the Kelly Gang" in 1906 at the Athenaeum Theatre and the first talkie to be shown in Victoria, "The Jazz Singer" shown in 1928. Later when Hoyts took over the lease, Cinemascope films were exhibited completing a history of film shown at this one theatre. paper program; 10 pages; coloured front page.

Collection of Latrobe Regional GalleryCURTIS, J.W. Born England 1839 Died Australia 1901Signed l.r., ink "JCW". Not datedlandscape with horse and cart

Wood engravingSigned and dated bottom right beneath printed image, "Jones 85" Edition and title in lower left corner "A/P Gibsland"

Wood engravingSigned and dated lower right corner below printed image "Tim Jones 1984". Edition and title to the lower left below composition, A/P "Gippland"

A windmill may be considered one of the most iconic sights of Australian Farming life. A pump like this rest at the heart of all such windmills, turning wind energy into water for farmers both here in Australia and worldwide alike. The water windmills access is referred to as an aquifer, an underground layer of water trapped in rocks but accessible with use of water wells and windmills. Australia is home to an underground aquifer known as the Great Artesian Basin. It is the largest and deepest aquifer in the world. Stretching over 1,700,000 square kilometres, the Basin underlies nearly a quarter of the continent including most of Queensland, the south- east corner of the Northern Territory, the north-east part of South Australia and the northern part of New South Wales. The basin is 3,000 metres deep in places and is estimated to contain 64,900 cubic kilometres of groundwater. To try and give this number context, a megalitre is a million litres. The Great Artesian Basin contains 65,000 million megalitres of water. This would be enough to cover all the land on the planet in almost half a metre of water.Lift style piston pump typical of an Australian farm connected to a multi-bladed windmill. Bronze cylindrical construction coming up from removable wood base. Rotating lever is above outlet pipe which would send water to the storage tank.windmill, australian farming, great artesian basin, aquifer

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

Note from collector- "For more than 100 years blankets were made all over Australia in over 100 woollen mills. My aim, is to preserve 100 examples of these wonderful pieces of history. Ten years ago I started collecting the iconic Onkaparinga travel rugs, so that on movie nights at home there would be plenty to go around. Everyone had their favourite; even the cat had his own – a small red tartan one. Keeping an eye out for those travel rugs at op-shops and markets, collectable stores and bazaars, led to noticing vintage blankets. I'd never really thought about them before or paid much attention though of course I had grown up with them at my grandmother's. When I discovered my first Laconia cream blanket with blue stripes, my eyes just went gaga. Well that was it, I was hooked and since then over 500 blankets have passed through my hands. These common, everyday items, found in all households for so many decades, were traditional engagement gifts. Pairs were prized wedding presents turning into family heirlooms. They were fashionable dressers of beds, givers of warmth, bestowers of security and reliability. The comfort found in these objects resonates with almost all of us; we grew up with them ourselves or fondly recall them in a grandparent’s home. There is no modern replacement with the integrity of these old blankets, many of them now older than most of us. They are romantic, sensible, special, familiar, nostalgic and nothing else feels so appropriate in so many situations. No offense to the great Aussie doona, but from hippie to hipster, at a music festival, picnic, campsite or couch, a vintage blanket is something coveted by all. This industry that employed tens of thousands and must have been such a huge contributor to the economy is almost completely lost now. Blanket Fever is an ode to everything that came before: the land, the sheep, the shearers, the hands, the mills, the weavers, the designers, the distributors, the department stores. To the grandparents that gave them, the people that received them, the families that kept them; thank you. I’m passionate about my collection of Australian blankets manufactured in mostly Victoria, South Australia and Tasmania from the 1930s to the end of the 1960s. The collection has blankets from each of these four decades representing the styles and fashions of their time and includes dated advertisements which help determine the eras the blankets are from." Wood and metal stampBlanketsblankets, blanket fever, stamp

This fan belonged to Julia Charlotte Sargood (Charlie), youngest daughter of Sir Frederick Sargood and only child of Lady Julia Sargood.Black carved wood fan with black net. Three flowers with leaves are embroidered in black thread and small black sequins. Carving on black wooden frame is a floral design. One black metal ring joins the fan at its base.rippon lea, sargood family, sargood, charlotte

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