Used by RAAF men to repair their uniform etc. From the Charles Honybun CollectionBrown cotton folded container to hold sewing needles , wool and thimbleRAAF129456ww1, charles henry honybun, raaf

The National Wool Museum accepted a donation from Brian Licence in 2022 of several mementoes relating to his career in the wool industry. Brian studied Wool Classing and worked for a decade in this profession before moving to Melbourne which required him to change careers. These Wool Classing Clip Reports date from 1965 to 1966, there are 7 total. The reports give feedback to the wool classer about their clips recently classed. They include some suggestions as to how a wool classer may improve their performance, and how a wool grower may be able to increase profits from their flock.8 sheets of paper, slightly under a4 size at 260 x 205 mm. 4 sheets have a header from Elder Smith Goldsbrough Mort Limited, 2 from Bennett & Fisher Limited, and 1 from Roberts, Stewart & Company Limited. All Wool Classing Clip Reports have the same structure, a header from the sending company, a body paragraph of black ink from a typewriter, concluding with a signature at the bottom of the page. Some of the pages have yellowed with age, others have slight tears. Report 1 is by Elder Smith Goldsbrough Mort Limited. It is dated 4th March, 1965. Report 2 is by Bennett & Fisher Limited. It is dated 7th October, 1965. Report 3 is by Bennett & Fisher Limited. It is dated 11th July, 1966. Report 4 is by Roberts, Stewart & Company Limited. It is dated 12th July, 1965. Report 5 is by Elder Smith Goldsbrough Mort Limited. It is dated 9th November, 1965. Report 6 is by Elder Smith Goldsbrough Mort Limited. It is dated 5th July, 1965. Report 7 is by Elder Smith Goldsbrough Mort Limited. It is dated 26th October, 1965.Multiple. See Multimediawool classing

This knitting pattern book was published by Patons and Baldwins and contains knitting patterns for womens garments.No. 481 / Patons / KNITTING / BOOK / No. 481 / Featuring / PATONS / TOTEM / KNITTING / WOOL / P&B / WOOLS / 1'6knitting handicrafts - history, patons and baldwins (australia) ltd, knitting, handicrafts - history

Pink ladies’ singlet. Neckline, armholes and hem finished with an overlocked hem and a row of decorative stitching, giving a scalloped, shell shaped edge. Sleeveless, with a scooped neckline, higher at the back and lower at the front.Hanro W. 80% Wool/Nylon.costume, female underwear, singlet

9036.1 Men's khaki coloured singlet style bathers 9036.2 Ladies, purple one piece bathers with short white skirt.9036.1 AKM regd. Cotton, wool

Acquired when "Classweave Industries" closed downWool Sorting 11/87 14textile mills - staff woollen mills, classweave industries pty ltd federal woollen mills ltd, textile mills - staff, woollen mills

Collector says - "Once I had gathered a dozen or so blankets, I started noticing the many different labels; where they were made, by who, the logos and fonts used. Then the labels became a thing, then the blankets had to have a label to join the collection. My favourite labels are by Physician, they had at least 4 different labels over the decades but the best has to be the Lady In Bed logo. Physician, Onkaparinga, Eagley and others matched the colour of the label to the colour of the blanket - a nice touch. Strangely, Castlemaine labels were always sewn on the back of the blanket where all the other mills sewed theirs on the front. To this day I always roll or fold a blanket with its label on display." 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." Checked blanket, pink, blue and creamCastlemaine/100 pure virgin wool blanket, blanket fever, wool, castlemaine, castlemaine woollen mill

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." Magazine Advertisement 'For Glamour, For Value'For Glamour, For Value, Wool Blankets are the answerblankets, blanket fever, advertisements, australian wool bureau, australian women's weekly

Certificate used to accompany sale of pure merino rams sold by Sturgeon family to certify that sheep are descendants of His Majesty George III's Flock.Certificate used to accompany sale of pure merino rams sold by Sturgeon family to certify that sheep are descendant of His Majesty George III's Flock. Black print on cream coloured paper, Gray's Hall address.For details...Wool from this flock No 625merino sheep - history, sturgeon merino, sturgeon, mr t. b. sturgeon, mr glen

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. This is the third in a series of 5 wool classing exercise books. They were written by Stanley Hucker in his time at the Gordon Technical College from 1936-1938. This book begins in a white cover with black ink illustrations and writing. These illustrations have been added to with Pink ink. Internally, the book is handwritten on yellowed pages with blue lines for the assistance in clarity of handwriting. The pages are also surrounded by a margin of red pen. The exercise book’s content is about veterinary studies relating to the diseases, injuries, and treatment of sheep. It is handwritten. A selection of pages have been photographed to give an impression of the information taught in classes, 90 years ago. This includes information about blow fly and bacterial diseases.Front Cover. Wording, printed and handwritten “THE / AUSTRALIAN / EXERCISE / BOOK / Veterinary / NAME Stanley J Hucker / GRADE III / School “Gordon” Geelong” Front Cover. Illustrations, printed. Kangaroo, kookaburra / Map of Australia with state names / Emu, Koalagordon institute geelong, wool classing, 1930s sheep farming, 90 years wool classing between father & son

Entered for, and winner of, 2012 Expression: The Wool Quilt Prize. Artists statement: "Out there" refers to the wide view of the undulating land extending from our home acreage towards the escarpment and the coast. There are also the millions of small organisms that live out there. As well, out there is the vast Australian landscape which I find thrilling"Wool quilt in landscape orientation with three distinct design patterns, primarily orange/brown/red in colour. Top panel is a light brown background with paler circles inset. Middle panel is an ochre colour with horizontal uneven lines. Bottom panel is an orange colour with pale bordered square shapes. Artists panel on back bottom right corner.

A brown cane oval woven sewing basket with a lid which has a pink studded silk lining. It contains - a pair of scissors, a cotton reel, embroidery thread, a bone handled crochet hook, tailors chalk, plastic containers, darning wool, press studs, bias binding, a doily and applique flowers.Crotchet cotton - Coates fast 609 colour Mercer Crotchet 60, 6 Black British Snap press studs - Guaranteed Rustless Size 1 Made in England, Standard darning Wool, Tailor's Chalk - RogeR & Gallet Paris, Scissors 101, 89 on one side of blades and Razor Silver Steel Saranti Forge Nogent france on the other side, Standard darning Wool Co Pty Ltd Stawell, Vic. Australia, steel crotchet hook has an embossed pattern on the handle, Superior Linen Thread No 30, Lindsay Thompson (Threads) Ltd Belfast, black pure flax linen thread 60 750 yards reverse twist.sewing baskets, baskets, sewing equipment

Donated by Mrs Robyn Adams, daughter of Victor Clyde- a wool grower from North-Eastern Victoria who used this itemWhite paper booklet with four staples on left spine. Front cover has heading -ELDER SMITH / GOLDSBROUGH MORT / LIMITED-. at top centre. Text also reads -WOOL HAND-BOOK / AND WAYBILLS-. Text is black and there are four red horizontal bars on the cover. Inside front cover has list of points to remember. First pages have instructions. Booklet contains several lined yellow pages which can be copied with carbon paper, or removed. Inside back cover has a foldable map. Back cover had a ready reckoner printed.wool sales, wool auction, wool transport, mrs robyn adams, elder smith goldsbrough mort limited, dalgety and company limited elder smith goldsbrough mort limited

MAJOR THOMAS GLAZEBROOK, refer Cat No 4330.2.1) JACKET- Khaki, wool, brown plastic buttons, embroidered rank ensignia on epaulettes, yellow metal R (returned officer) unit shoulder patch on each upper sleeve .2). TROUSERS- Khaki, wool Unit shoulder patch “Royal Australian Engineers”uniform army, battle dress

Port of Portland AuthorityFront: (no inscriptions) Back: 177 (top left, pencil)port of portland

Jumper wool khaki with RASIGS shoulder bars and Australian Army arm patchuniform, 2001, army

Worn by Deaf Student (Marissa (De Santis) Cooper (Early 1970's)Girl Grey School Blazer Pure Wool Worn by Student in early 1970sSchool Badge embroided VSDC (Victorian School for Deaf Children) (Packet of Chips made by Arnotts, found in left pocket)vsdc school uniform, marissa de santis cooper, thins chips, 1970s

This coat was part of the regalia belonging to Reverend Dr Alan C Watson Moderator General of the Presbyterian Church of Australia 1959 - 1962.Black wool, lined coat with a crew neck and six black covered buttonspresbyterian moderator, rev dr alan watson

From the collection of Bette Jones.Tea Cosy, wool embroidery Jacobean design in pinks and greens on beige background.manchester, table linen

From the Margaret Scarlett CollectionGreen & pink floral cotton mattress with five wool buttons on front & back.toys, doll's furniture

Worn by donor's grandmother at Bethley Bridge near Maryborough, unique style of embroidery,Apron, Hostess, Laced edged and embroidered with wool (Tambour Style), cream cotton.costume, female working

Cream wool crochet baby bonnet lined with cotton.. ribbon ties at neckcostume, infants'

Found under house at 6 Mt Pleasant Road Nunawading following demolition.Example of handmade tools used in wool industry.X 2 bag hooks used to handle bagged material(wool bales?)Nilbag hooks, wool industry

NilMaroon Beret, wool with Black SAS Badge with inscription WHO DARES WINSSAS BADGE WHO DARES WINS

Wool red cape, lined in red linen and cotton material. None military.“M. Bauer. G.H.” Written in texta on inside of cape.nurse, cape

The Fashion & Design collection of the Kew Historical Society includes examples of women’s, men’s, children’s and infants’ clothing from the 18th, 19th and 20th centuries. Items in the collection were largely produced for, or purchased by women in Melbourne, and includes examples of outerwear, protective wear, nightwear, underwear and costume accessories. This dress is one of a number of items donated to the Fashion Collection by Dione McIntyre.The McIntyre Collection of clothing and clothing accessories forms one of the largest single donations to our Fashion & Design collection. It includes clothing and clothing accessories worn by four women in the Cohen and McIntyre families across three generations. The items worn by Melbourne architect, and Kew resident, Dione McIntyre date from the 1960s and 1970s, and include evening wear, day wear, hats and shoes. As Dione McIntyre often accompanied her husband, fellow architect Peter McIntyre, to formal events, there are a number of pieces of evening wear among the items. The McIntyre Collection also includes items worn by women of an earlier generation: by Lilian Cohen, Dione McIntyre's mother, and by her mother-in-law, the wife of the architect Robert McIntyre. At the other end of the chronological spectrum are a number of outfits belonging to, worn and donated by Annie McIntyre. These include outfits created by notable late 20th century Australian and/or international fashion designers. The McIntyre Collection is significant historically and artistically as it includes examples of design that demonstrate changing tastes in fashion over an 80-year period. The collection is also significant in that it includes the work of a large number of Melbourne designers from the 1960s to the 1990s. Grey flannel wool dress with a wide collar and elbow length squared sleeveswomen's clothing, australian fashion - 1960s, mcintyre collection, dresses