Wool bale stencil owned and used by donor. Donor was a wool classer in New South Wales working from the 1960s to c2000. This stencil was used by the donor as they traveled from station to station and was used to stencil their registration number on the bales of wool that they had classed. The stencil was created by the Australian Wool Corporation who mailed the stencil to the donor. We also have the original envelope.Metal rectangular wool bale stencil. Stencil has cutouts of a sheep head symbol on left side and the number '83' and 'PI' on either side of an Australia shape on the top right. There are three horizontal rectangles below this, and below them is the number 54719. Faintly engraved at the top is the text AWC PROPERTY / NOT TRANSFERABLE. Rear of stencil is a shiny light metallic colour. Front side is scratched and stained, particularly around the text areas. This would be due to use. Associated envelope is worn and becoming frail. It is a cream colour with heavy staining and opened on the right side. Top left has a printed return address, top right has a stamp area. Affixed postal address is for the donor and that is above a blue stamped text reading IMPORTANT / DO NOT BEND. Back of envelope has a stamped print of the stencil and another bright red stamp. Possibly put there by the donor.

Stanley Couzens of the Wathourong community was commissioned by Geelong Wool Combing Ltd to create a painting of the You Yangs and Corio Bay to be reproduced on a jumper. The jumper itself was designed by Jeni McMahon using Merino wool from her property McMahon Farm Pty Ltd. Jumper was presented as a gift at the opening of the Geelong Wool Combing LtdWoolen Jumper containing red, mustard, green and cream depicting Indigenous artwork. Sold colour cuffs and collar of black. Size XL, label stitched to inside neck with paper swing-tag attached. jumper, indigenous, wool, geelong, 1993, geelong wool combing ltd, stanley couzens, jeni mcmahon, woolmark, you yangs, corio bay, wathourong, snake, fish

Stanley Couzens of the Wathourong community was commissioned by Geelong Wool Combing Ltd to create a painting of the You Yangs and Corio Bay to be reproduced on a jumper. The jumper itself was designed by Jeni McMahon using Merino wool from her property McMahon Farm Pty Ltd. Jumper and miniature wool bale packaging were presented as a gift at the opening of the Geelong Wool Combing LtdSynthetic miniature wool bale packaging containing jumper. Miniature wool bale features two stenciled design with black ink. First stencil reads "Pure Australian Wool" with Woolmark logo. Second stencil reads "A Gift From Geelong Wool Combing GWC". Small tag on bottom right corner reads "XL". Has two removable staples closing top opening. Woolen Jumper inside contains red, mustard, green and cream colours depicting Indigenous artwork. Features two stenciled design with black ink. First stencil on front reads "A Gift From/ GWC/ Geelong Wool Combing ". Second stencil on back reads "Pure/ Australian/ Wool" with Woolmark logo above. Small tag on bottom right corner reads "XL".

Made by the Returned Soldiers & Sailors Mill in Geelong, post-1924. Rug was given to NWM from another museum in Western AustraliaTartan rug with cream base, featuring pattern with blue, black, green, yellow and red believed to be the Dress Stewart tartan pattern. RS&S label stitched on back of one corner. Label has stitched signature of John Monash. Two of the ends are tasseled. Appears used with several stains and small holes. Reverse of rug is free of design with solitary light brown colour Bottom left front corner has label which reads "THE/ Dress Stewart" On rear of same corner has label which reads "THE GEELONG R.S & S WOOLLEN MILLS/ PURE/ WOOL/ THE John Monash RUG wool, rs&s, reutrned soldiers and sailors mill, rug, quilt, blanket, john monash, the dress stewart, world war one, world war two, tartan

Certificate commemorating The Geelong Wool Sales at the National Wool Centre 1995 durring which Aoki International paid 1,030,000 cents per kilogram for 13.8 micron wool. Wool was grown by the Appledore Family at Brim Victoria. Aoki International purchased the wool through their agets G.H. Michell & Sons (Australia) Pty. Ltd. Relates to Million Dollar Wool Bale on display in Gallery OneTimber framed certificate with gold inlay and glass covering. Certificate is cream coloured paper with gold printed text and decorative boarder. Hand Signed by K.L. Jackson on bottom left corner. Back of the frame has a horizontal hanging string

Hand-stitched tapestry by M. Baker in 2001. Tapestry represents part of the family history of working in the wool industry as owners of a sheep property for five generations. The family has run Corriedale sheep in Lismore, Victoria.Brown timber framed woollen tapestry with cream mounting board. Tapestry is handstitched and features various colours. Scene depicts four men and a woman in a shearing shed. Two of the men are handling sheep, one man is weighing a fleece while the last man and woman look on. Back of frame has a horizontal hanging wire, a framers stamp at the bottom centre and a handwritten creators name and date at the top right corner.lismore, sheep breeding, tapestry

From the collection of a family who had three generations that worked for Dennys Lascelles. This is a catalogue describing the Mossgiel estate for an upcoming auction which was going to be held through the Dennys Lascelles Company. Mossgiel was built for or owned by Brigadier-General Robert Smith, who (I believe) was the founder of the Returned Soldiers & Sailors Mill in Newtown.Cream/pale yellow coloured paper booklet with maroon/brown text and border on front page, "Mossgiel" text in centre. 6 pages, bound with two metal staples on spine. Text and images throughout, describing and showing the Mossgiel estate. Back cover has small drawing of a shield or symbol with flowers below and text reading "LIST. HICKIE. PTY. LTD"dennys lascelles ltd, hendy leary and co, mossgiel

Certificate awarded to Mr. Charles Wilson Peel for the best sample of merino lambs wool at the annual show for the Geelong Agricultural and Pastoral Society. The certificate is undated. Mr Peel owned a superfine merino stud at Gnawarre named Callenondah.Cream coloured stiff paper certificate with black printed text and sketches. Black ink handwritten personalised text to C.W. Peel for best lambs wool sample. Heading at top of certificate above the Australian coat of arms and sketch of horse and cow heads.

Certificate awarded to Mr. Charles Wilson Peel from the Geelong Legacy Fleece Show, 1969. The certificate is for Third Prize. Mr Peel owned a superfine merino stud at Gnawarre named Callenondah.Cream coloured stiff paper certificate with navy blue printed text and sketches. Black ink handwritten personalised text to C.W. Peel at Gnawarre. Heading at top of certificate above two symbolic rams. This certificate is for Class N, Section 1.

Certificate awarded to Mr. Charles Wilson Peel from the Geelong Legacy Fleece Show, 1969.. The certificate is for Third Prize. Mr Peel owned a superfine merino stud at Gnawarre named Callenondah.Cream coloured stiff paper certificate with navy blue printed text and sketches. Black ink handwritten personalised text to C.W. Peel at Gnawarre. Heading at top of certificate above two symbolic rams. This is for Class M, Section 1.

Certificate awarded to Mr. Charles Wilson Peel from the Geelong Legacy Fleece Show, 1973. The certificate is for Third Prize. Mr Peel owned a superfine merino stud at Gnawarre named Callenondah.Cream coloured stiff paper certificate with navy blue printed text and sketches. Black ink handwritten personalised text to C.W. Peel at Gnawarre. Heading at top of certificate above two symbolic rams. This is for Class K, Section 1.

Certificate awarded to Mr. Charles Wilson Peel from the Royal Agricultural Society of Victoria, 1969. The certificate is for Third Prize. Mr Peel owned a superfine merino stud at Gnawarre named Callenondah. Cream coloured stiff paper certificate with dull gold/green borders, black text and grey typed personalised text to C.W. Peel for Merino lambs wool. Heading at top of certificate.

Made by Inge Cammans in 1998 initially to see if she could create an outfit made entirely of wool. The outfit was then entered in the National Wool Awards competition in 1999 and won first prize.Hand knitted cream and brown outfit consisting of a skirt (kilt), jumper, hat (beret), scarf, socks and bag. Outfit is made using hand spun wool from local East Gippsland area, Perendale and Mohair. An artist tag and rosette award accompany the outfit.tag [front]: [handwritten] SCOTTISH OUTFIT / DESIGNED HAND- / SPUN + KNITTED OUT / OF PERRIDALE + / MOHAIR BY / Inge Cammans / [printed] BUCHAN / BLACK MARBLE HUT / GALLERY / Main Street, Box 9, / Buchan, Vic. 3885 / (051) 55 9296 / AUSTRALIA tag [back]: Theo Cammans / is an exceptionally talented individual. / He is responsible for not only / the beautiful paintings and / woodwork throughout the / shop, but also fashions the / unique Buchan Marble / into many varied and / stunning designs. / Inge Cammans / using her own hand spun / wool she has made multi / award winning garments / and wall hangings. / Each item in unique and / renowned world wide / She has taken first prize at - / National Wool Awards, / Melbourne, Lakes, Bairnsdale, Omeo / Paris Exhibitor front [rosette]: OMEO & DIST. A.&P. SOCIETY / WOOL DESIGN AWARDS / 1stknitting handicrafts, cammans, mr theo, knitting, handicrafts, east gippsland

Stanley Couzens of the Wathourong Community was commissioned by Geelong Wool Combing Ltd to create a painting of the You Yangs and Corio Bay which was then reproduced on a jumper. The jumper itself was designed by Jenifer McMahon using Merino wool from her property McMahon Farm Pty Ltd.Mens knitted jumper depicting an image of the You Yangs and Corio Bay designed by artist Stanley Couzens of the Wathaurong Community. Image of the You Yangs and Corio Bay is on the front of the jumper in colours including brown, green, cream, black, with white and gold stitching. The central motif extends to the back of the jumper. A cardboard tag attached to the label explains the provenance of the design and manufacture of the jumper.merino sheep knitting, mcmahon, jeni - mcmahon's farm, corio bay, victoria, merino sheep, knitting, stanley couzens, wathaurong, you yangs, jumper, design

Belonged to a Scottish migrant, Mrs Liz Milton-Undy, who with her family migrated to Northern Queensland after W W 1. Given to Mrs Pat Coverdale by Mrs Liz Milton-Undy's son Milton, after her death in 1995A cream coloured woven woollen blanket.weaving

Part of the Running Stitch Collection. Possibly made at Ballarat.Patchwork quilt, made with small rectangular pieces of printed cotton dress fabrics in predominant shades of blue. Machine quilted and filled with woollen handknitted garment pieces. Backing is a cream cotton fabric printed with blue and green and brown floral pattern.quilting quilting - history, running stitch group, running stitch collection, quilting, quilting - history

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

Dennys, Lascelles Limited: Wool Industry Study Tour of Japan and Hong Kong, March 1970. Part of the NWM Woolbroker's Office exhibit until late 1990's.Three copies. Report, 15pp: Small booklet, cream, soft textured cover with title and date in black ink. Stapled twice at left. Dennys, Lascelles Limited : Wool Industry Study Tour of Japan and Hong Kong, March 1970wool stores wool marketing, dennys, lascelles limited, wool stores, wool marketing

"Dalgety's Annual Wool Review for Australia and New Zealand: 1930-1931". Part of the NWM Woolbroker's Office exhibit until late 1990's.Two copies. Report, 181pp: Book, cream soft cover, maritime illustration printed blue.Dalgety's Annual Wool Review for Australia and New Zealand: 1930-1931wool stores wool brokering, dalgety and company limited, wool stores, wool brokering

Dennys, Lascelles Limited: Chairman's Address, Annual Meeting of Shareholders, August 1967. Part of the NWM Woolbroker's Office exhibit until late 1990's.Two copies. Report, 7pp: Small booklet, cream soft textured cover with title and date in black ink. Stapled twice at left. Dennys, Lascelles Limited :Chairman's Address, Annual Meeting of Shareholders, August 1967wool stores wool brokering, dennys, lascelles limited, wool stores, wool brokering

Dennys, Lascelles Limited: Chairman's Address, Annual Meeting of Shareholders, August 1964. Part of the NWM Woolbroker's Office exhibit until late 1990's.Two copies. Report, 7pp: Small booklet, cream soft textured cover with title and date in black ink. Stapled twice at left.Dennys, Lascelles Limited: Chairman's Address, Annual Meeting of Shareholders, August 1964wool stores wool brokering, dennys, lascelles limited, wool stores, wool brokering

Dennys, Lascelles Limited: Chairman's Address, Annual Meeting of Shareholders, August 1969. Part of the NWM Woolbroker's Office exhibit until late 1990's.Two copies. Report, 7pp: Small booklet, cream soft textured cover with title and date in black ink. Stapled twice at left. Dennys, Lascelles Limited :Chairman's Address, Annual Meeting of Shareholders, August 1969wool stores wool brokering, dennys, lascelles limited, wool stores, wool brokering

"Dalgety's Annual Wool Review for Australasia: 1918-1919". Part of the NWM Woolbroker's Office exhibit until late 1990's.Two copies. Report, 60pp: Book, cream soft cover, printed blue. Dalgety's Annual Wool Review for Australasia: 1918-1919wool stores wool brokering world war i, dalgety and company limited, wool stores, wool brokering, world war i

"Dennys, Lascelles Annual 1929". Part of the NWM Woolbroker's Office exhibit until late 1990's.Two copies of the report, 104pp: Small booklet, cream, soft textured cover, title and date in black ink. Stapled twice at left. "Dennys, Lascelles Annual 1929". Includes information for woolgrowers.Wording: graham rees; Method: handwritten; Location: on coverwool stores wool brokering, dennys, lascelles limited, wool stores, wool brokering

"Dalgety's Annual Wool Review for Australasia: 1923-1924". Part of the NWM Woolbroker's Office exhibit until late 1990's.Two copies. Report, 140pp: Book, cream soft cover, printed black. Dalgety's Annual Wool Review for Australasia: 1923-1924wool stores wool brokering, dalgety and company limited, wool stores, wool brokering

"Dennys, Lascelles Limited, Notice of Meeting and Annual Report to Members 1970".Two copies. Book, pale cream coloured, paper cover printed in black. Dennys, Lascelles Limited, Notice of Meeting and Annual Report to Members 1970wool sales wool brokering wool stores, dennys, lascelles limited, wool sales, wool brokering, wool stores

George Hodgson Limited Business Card, a British loom manufacture based in Bradford England. The card showcases the awards the company as won as well as a description of one of their looms.Cream business card printed with the black ink. The front of the card lists the awards and medals the company had one in the background with an image of each award. The company logo is placed in the center. The back of the card has a drawing of a loom with a decorative border.Front top edge - Awards for Improvements & Excellence in Power Looms for Weaving. Front middle - George Hodgson Limited Makers of Power Looms for Weaving. Bradford, Yorkshire, England Front bottom edge - Presented by J T Elioors (?) Back bottom edge - One shaft heavy underpick worsted and woollen cloth loom, with 4 holed drop box on each side, fitted with positive wheel dobby.textile machinery, wool manufacture, wool, loom, george hodgson limited

On the 1984 Los Angeles Olympic Uniforms donator Doug wrote- During the 1980s the Australian wool industry was at its most prosperous times with record numbers of sheep producing wool receiving ever increasing values due to the success of the Reserve Price Scheme, and the overall guidance of the Australian Wool Corporation (AWC). As a humble technician, my role was a low profile newly created position of “Controller, Technical Marketing” where wool was to be marketed on its technical properties, as distinct from the “Product Marketing Group” which exploited trhe traditional high profile approach of marketing wool;s superior fashion attributes. The Woolmark was the tool central to this approach. When the forthcoming Los Angeles Olympic Games was announced, the Product Marketing Group seized upon the chance to show the world that we could make top fashion garments and display them on our elite athletes on the world stage. A concept was launched using a contemporary top designer, Adel Weiss, with the most exclusive fabrics and knits available, and all with a lot of hype. This launch failed dismally for the following reasons- - The designer did a wonderful job presenting an excellent fashion range on perfect skinny models. The AOC however wanted a uniform which had an obvious Australian appearance when fitted to elite, and frequently muscular, athletes. - The fabrics chosen did not reflect the performance required by travelling athletes, there was no recognition of the need for ‘easy care.’ - There was no recognition given to the problem of measuring, manufacturing and distribution of a range of articles when the selected athlete could be domiciled anywhere in Australia. - There was no appreciation of such historical facts as Fletcher Jones, who had been unofficial suppliers dating back to the 1954 Olympics in Melbourne, and the Fletcher Jones board member, who was also an AWC board member, and was not in favour of the change. The project passed from Product Marketing to Public Relations, a big spending off-shoot of the AWC Chairman David Asimus, and due to the day to day operations of the project was passed to me and PR took care of the financial matters. The first task was to meet with the AOC and find out exactly their requirements. This lead to the production of a design and manufacturing brief, cointaining exact time lines for each event required to ensure an appropriate uniform on every athlete chosen to represent his/her country on the date given for the Opening Ceremony in Los Angeles. Working backwards the timeline becomes- 1. Noted the exact date of the Opening Ceremony. 2. Estimated the date for distributing completed garments to each athlete. 3. Estimated the time span available for measuring each athlete and commence making each component of the ensemble to the individual measurements of each athlete. 4. Decided the date for making the final choice of uniform design concept. 5. Decided the date for distribution of the design brief to selected designers. These five steps were spread out over a two year period. The Commonwealth Games occur midway between each Olympic Games, work on the Olympic uniform commences the week after the Commonwealth Games closing ceremony and MUST be ready by the prescribed day two years hence. The project also had to remain cognisant of trade politics existing within the span of the task, as well as the temperament of designers in general. It is no overstatement to say that in the past every designer in Australia believed they could, and should, be chosen to design the Australian Uniform. The final choice of designer almost always faced criticism from the fashion press and any designer who had been overlooked. However, with the contenders receiving an exacting brief the numbers of serious contenders greatly reduced. The Los Angeles Olympic Uniforms. A further reason for the AWC bid failure to design the LA uniform was that the AOC had already chosen Prue Acton to design it. This was based on her proven performance during previous games as she had a talent for creating good taste Australiana. Her design concepts also considered the effect when they were viewed on a single athlete as well as the impact when viewed on a 400 strong team coming on to the arena. A blazer trouser/skirt uniform in bright gold was chosen for the formal uniform. It was my task to select a pure wool faille fabric from Foster Valley weaving mill and have sufficient woven and ready within the prescribed timeline. The trouser/skirt fabric selected was a 60/40 wool polyester plain weave fabric from Macquarie Worsted. This fabric had a small effect thread of linen that was most attractive when dyed to match some eucalyptus bark Prue had brought back from central Australia. For the Opening Ceremony uniform, Prue designed a series of native fauna, a kookaburra for the men’s shirt and a pleated skirt with a rural scene of kangaroos, hills and plants. This presented an insurmountable printing challenge to the local printing industry as it had an unacceptably large repeat size and the number required (50) was also commercially unacceptable. The solution was a DIY mock up at RMIT and the employment of four student designers. The fabric selected for this garment was a light weight 19 micron, pure wool with a very high twist yarn in alternating S and Z twist, warp and weft. This fabric proved to be the solution to a very difficult problem, finding a wool product which is universally acceptable when worn next to the sin by young athletes competing in the heat of a Los Angeles summer. Modifications to this fabric were developed to exploit its success when facing the same problem in future games. Garment Making- The most exacting garment in the ensemble is the tailored blazer, plus the related trouser/skirt. Unfortunately tailoring athletes that come in various shapes and sizes such as; - Weight lifters develop an enormous chest, arms and neck size. A shirt made to a neck size of 52 would produce a shirt with cuffs extending well beyond the wearer’s hands. - Basketball players are up to 7 feet tall and garments relying ona chest measurement grading would produce a shirt with cuffs extending only to elbow length. - Swimmers develop enormous shoulders and slim hips, cyclists by contrast develop thighs I liken to tree trunks and a uniform featuring tight trousers must be avoided at all cost. Suffice to say many ensembles require specialist ‘one off’ treatment for many athletes. Meanwhile there is a comfortable in between group who can accept regular sizes so you can cater for these by having back up stock with plenty of built in contingencies. Athletes may be domiciled anywhere in Australia, this creates a fundamental problem of taking their measurements. The Fletcher Jones organisation was key to answering this problem due to their presence in every capital city, as well as many provincial towns around Australia. Each athlete on being selected for the Olympic Team was simultaneously requested to visit their nearest Fletcher Jones shop. The standardised measurement data collected was shared with the other manufacturers, e.g. Pelaco Shirts, Holeproof Socks and Knitwear, Maddison Belts, and even Hush Puppy Shoes. As the time for the Games approached the AOC made arrangements for combining meeting of all. Selected available athletes at the Australian Institute of Sport, Canberra, where, among other things, they were fitted and supplied with their uniform. The method evolved as follows.Men’s cream coloured button up, collared shirt. Images of a kookaburra have been printed onto the shirt, a single kookaburra on the left breast and a pair of kookaburras on the reverse of the shirt. The kookaburras are printed in a brown tone to complement the cream colour of the fabric.On tag - FMaustralian wool corporation, 1984 los angeles olympics, olympic uniforms, men's uniforms, sport, athletes

The conduct of the LA games changed many factors in a short space of time. The Americans made their Games a huge financial success, whereas other countries, e.g. Canada, was left with a huge debt. The key to this was SPONSORSHIP which soon replaced the old Australian way of fundraising with pub raffles. It also began to change the atmosphere where the AWC had previously been valued for their generous donation. There was a move by commercial specialist uniform marketing organisations paying sponsorship money to publicise the fact that they were clothing high profile athletes. Old loyalties remained but became tested more and more as time progressed. For example, each uniform was expected to include an Akubra hat, why? Because it always had. For the same reason the uniforms also had Driza-Bone Coats. The day before the Seoul Opening Ceremony it rained in Seoul, so at the Opening Ceremony the Australian Team emerged in their Driza-Bones, made from cotton, not a wool fibre in sight, and the wool growers were footing the bill for over a million dollars. Thoroughly embarrassed, I resolved to avoid this situation next time by having all uniform fabrics pre-treated with Scotchguard prior to garment making.The scarf is brightly coloured in blue, green, yellow, purple and red on a plain cream base fabric. The lines of colour run on an angle across the fabric as jagged, irregular lines with small motifs of Australia, the Southern Cross stars, fish, triangles and a wave pattern, placed throughout. The centre of the scarf is dominated by a depiction of Australia presented in yellow. Within Australia are eucalyptus leaf shapes as well as mountainous shapes and the wave shape that is featured elsewhere on the scarf. The left hand short hem of the scarf has a differing pattern with larger lines running on the opposite angle to the rest of the scarf. Within the larger lines the same motifs are again printed.

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