Crocheted example by Joyce Hucker. Hucker began working with unspun wool and making dyes from the natural sources from her garden and the farm trees around her. From knitting and croceting articles, she progressed to felting and a 'wrapping' technique, always using unspun wool. She was a successful exhibitor at many craft shows and was always willing to pass on her experience and knowledge to others, often travelling widely to help groups requiring a demonstration.Crocheted item by Joyce Hucker.crochet, hucker, mrs joyce

Crocheted example by Joyce Hucker. Hucker began working with unspun wool and making dyes from the natural sources from her garden and the farm trees around her. From knitting and croceting articles, she progressed to felting and a 'wrapping' technique, always using unspun wool. She was a successful exhibitor at many craft shows and was always willing to pass on her experience and knowledge to others, often travelling widely to help groups requiring a demonstration.Crocheted item by Joyce Hucker.crochet, hucker, mrs joyce

Presented to Joyce Hucker for objects entered in the Australian Sheep Breeders' Association 1972 Show. Hucker began working with unspun wool and making dyes from the natural sources from her garden and the farm trees around her. From knitting and croceting articles, she progressed to felting and a 'wrapping' technique, always using unspun wool. She was a successful exhibitor at many craft shows and was always willing to pass on her experience and knowledge to others, often travelling widely to help groups requiring a demonstration.Presented to Joyce Hucker for objects entered in the Australian Sheep Breeders' Association 1972 Show.Australian Sheep Breeders' Assn, 1972 Show Late J Hucker 1972 1st Ribbonagricultural shows, hucker, mrs joyce

Presented to Joyce Hucker for objects entered in the Australian Sheep Breeders' Association 1972 Show. Hucker began working with unspun wool and making dyes from the natural sources from her garden and the farm trees around her. From knitting and croceting articles, she progressed to felting and a 'wrapping' technique, always using unspun wool. She was a successful exhibitor at many craft shows and was always willing to pass on her experience and knowledge to others, often travelling widely to help groups requiring a demonstration.Presented to Joyce Hucker for items entered in the Australian Sheep Breeders' Association 1975 Show.Australian Sheep Breeders' Assn, 1975 Showagricultural shows, hucker, mrs joyce

Presented to Joyce Hucker for objects entered in the Australian Sheep Breeders' Association 1972 Show. Hucker began working with unspun wool and making dyes from the natural sources from her garden and the farm trees around her. From knitting and croceting articles, she progressed to felting and a 'wrapping' technique, always using unspun wool. She was a successful exhibitor at many craft shows and was always willing to pass on her experience and knowledge to others, often travelling widely to help groups requiring a demonstration.Presented to Joyce Hucker for items entered in the Australian Sheep Breeders' Association 1975 Show.Australian Sheep Breeders' Assn, 1975 Showagricultural shows, hucker, mrs joyce

Crocheted example by Joyce Hucker. Hucker began working with unspun wool and making dyes from the natural sources from her garden and the farm trees around her. From knitting and crocheting articles, she progressed to felting and a 'wrapping' technique, always using unspun wool. She was a successful exhibitor at many craft shows and was always willing to pass on her experience and knowledge to others, often travelling widely to help groups requiring a demonstration.Dressing gown crocheted by Joyce Hucker. Detail from crocheted dressing gown by Joyce Hucker. Detail from crocheted dressing gown by Joyce Hucker.crochet, hucker, mrs joyce

A copy of both the ‘Dennys Lascelles Limited 1857-1957: Annual Wool Report & Centenary Review’ & ‘Staff Reunion Souvenir Programme, 1988’ was donated to the museum in 2021. These were duplicate items so only their story was retained in addition to the image of Rita located in Multimedia. “Enclose two items which may be of interest to add to your collection. They belonged to my mother, Rita Sedgwick (nee Glenn), who died earlier this year in April. She worked for Dennys Lascelles in two separate periods. First as a young girl, who had finished her schooling, at Morongo Presbyterian ladies College, having been sent as boarder there by her parents from their farm at Mathoura (just north of Echuca). This period was from 1942 — 1947. It was her second job out of school having worked first at the then Geelong Telephone Exchange. She would commute daily to work on a bicycle from where she was then living in Drumcondra. She had the front office role of receptionist and telephonist driving an old manual switchboard. The old front desk was her domain. She departed in 1947, shortly after she was married in late 1946. She spoke fondly of her times at the company as a young girl in her late teens and early twenties. Her second stint was much later, but again as the front-desk telephonist and receptionist commencing in 1972, ending 11 years later in 1983. This was a period when Sir Henry Bolte was on the Board, Don Urqhuart was MD, Ray Hobson was General Manger, Cliff Bone the company Secretary, Peter Keys the CFO and Jim Hay was also on the Executive team. While there were some 25 years between her periods of service, she welcomed the chance to re-join the company. Again, it was a time of hard work, and good friends. The busy times were the wool auctions, when the Firm would be visited by representatives of the big Japanese trading houses such as Mitsui, and Kanematsu. The Chief Auctioneer, Mr. Reeves (I can't recall his first name), would hold court at the now demolished Geelong Wool Exchange — I saw him in action once — what a sight. The huge show floors in the Denny's building would be full of open bales and samples for the buyers to inspect, and for mum days would start at 0800, and finish at 1800 or later. In quieter times over summer, it was reported that the empty show floor would provide an excellent arena for the more enthusiastic cricketers to get in a bit of practise with a tennis ball at lunch and after closing time! Dennys was a full-service firm for wool growers, with branches all over the Western Districts as far afield as Mt Gambier, but through Timboon, Warrnambool, and the like, as I am sure you are aware. She also saw the merger of Dennys and Strachan to create DSM, and later the amalgamation with AML&F to create Dennys AML (I think). She saw the change from the old manual switch board to the then latest of PABX technologies and was part of the team the relocated from the original offices to the new address on the south side of Brougham Street. Along with the shift from the large show floor-based sales of the past. She retired from fulltime work in mid-1983, again with fond memories and friendships that lasted a lifetime. I found these two items among her things recently, and felt that given her connection to the industry, and the place in which the Museum now resides you may like to add them to the collection. I hope you can find a home for them, and that they might add a little to the story that the wool museum now houses and curates.” Program 12pp: soft pale grey cover, contians brief history of the company , the buildings and at the last page is a list of acceptances for the reunion, 2nd October, 1988Judith Lagingdennys, lascelles limited

One of two albums presented to Mr EJ Fairnie in appreciation of his work towards the exhibitions of 1928 and 1938. Mr Fairnie was Hon Sec of the 1928 committee. The both exhibitions were in the Dennys Lascelles Bow Truss building.Presented to/ E J Fairnie esq/ whose efforts ..... Photographs by Lockwood Studiostextile mills - history textile machinery textile mills, returned soldiers and sailors mill valley worsted mill collins bros mill pty ltd albion woollen mills co. pty ltd felt and textiles pty ltd excelsior woollen and worsted mills federal woollen mills ltd gordon institute of technology, fairnie, mr edward john - returned soldiers and sailors mill, textile mills - history, textile machinery, textile mills

"Federaton Flora" was created by 13 members of the Geelong Handweavers and Spinners Guild Inc for the centenary of Federation in Australia. It won 1st prize in the Australian Sheep and Wool Show, Bendigo, 2000.Australian Sheep and Wool Show, Woolcraft Competitionhandicrafts, geelong handweavers and spinners guild inc., felting, hand spinning, hand knitting, weaving

Red white and blue felt trophy rosette, International Corriedale Fleece Competition, 1965, and Victorian Champion Ram Fleece, presented to Stanbury Coriedale Stud, R EWettenhallINTERNATIONAL CORRIEDALE FLEECE COMPETITION 1965 VICTORIAN CHAMPION RAM FLEECEcorriedale sheep sheep breeding agricultural shows, stanbury corriedale stud, wettenhall, mr rupert e. wettenhall, mrs janet, victoria, corriedale sheep, sheep breeding, agricultural shows

Red white and blue felt trophy rosette, International Corriedale Fleece Competition, 1965, and Supreme Champion Ram Fleece, presented to the Stanbury Coriedale Stud, R EWettenhall.INTERNATIONAL CORRIEDALE FLEECE COMPETITION 1965 SUPREME CHAMPION RAM FLEECEcorriedale sheep sheep breeding agricultural shows, stanbury corriedale stud, wettenhall, mr rupert e. wettenhall, mrs janet, victoria, corriedale sheep, sheep breeding, agricultural shows

Trophy ribbons won by the Wettenhall's Stanbury Stud. According to Mr Parsons, (19 Mar 2004) the quilt was almost certainly made by Mrs Janet Wettenhall. It was hung in her sun room.Quilt, composed of felt ribbons stitched together and lined with beige woollen fabric. Most of the ribbons are royal blue, there are two purple ribbons and the quile is edged with green ribbons. All the ribbons have been screen printed in yellow ink. There is a velcro strip attached at upper back edge.The ribbons are prizes from sheep breeding competitions from 1958 to 1961.[various]corriedale sheep sheep breeding agricultural shows, stanbury corriedale stud, wettenhall, mr rupert e. wettenhall, mrs janet, victoria, corriedale sheep, sheep breeding, agricultural shows

The Geelong Handweavers and Spinners Guild Inc. entered "The Afternoon Tea Party", designed by Val Ingeme, into the "Five Articles" Section of the Melbourne Sheep and Woolcraft Show c.1992. To qualify, the entry needed to form a group and be able to demonstrate a number of wool crafts in at least five different items. The covering of the cake was woven by Anneli Rickards, the plate woven by Jean Inglis, Mary Donnan and Val Ingeme made and assembled the floral trimmingsagricultural shows handicrafts textile art knitting weaving, geelong handweavers and spinners guild inc., spinning - hand, felting, weaving, ingeme, mrs val inglis, jean - geelong handweavers and spinners guild inc. rickards, anneli - geelong handweavers and spinners guild inc. donnan, mary - geelong handweavers and spinners guild inc., melbourne, victoria, agricultural shows, handicrafts, textile art, knitting

The Geelong Handweavers and Spinners Guild Inc. entered "The Afternoon Tea Party" , designed by Val Ingeme, into the "Five Articles" Section of the Melbourne Sheep and Woolcraft Show c.1992. To qualify, the entry needed to by from a group of five people and be able to demonstrate a number of wool crafts in at least five different items. "The Afternoon Tea Party" was loaned to the NWM for display and was subsequently donated in 2003. This piece was designed and made by Val Ingeme from wool fleece.agricultural shows textile art handicrafts knitting, geelong handweavers and spinners guild inc., felting, ingeme, mrs val, agricultural shows, textile art, handicrafts, knitting

The Geelong Handweavers and Spinners Guild Inc. entered "The Afternoon Tea Party" , designed by Val Ingeme, into the "Five Articles" Section of the Melbourne Sheep and Woolcraft Show c.1992. To qualify, the entry needed to be from a group of five people and be able to demonstrate a number of wool crafts in at least five different items. "The Afternoon Tea Party" was loaned to the NWM for display and was subsequently donated in 2003. This piece was designed and made by Val Ingeme from wool blend yarn, the plate from wool.agricultural shows textile art handicrafts knitting, geelong handweavers and spinners guild inc., felting, ingeme, mrs val, agricultural shows, textile art, handicrafts, knitting

The Geelong Handweavers and Spinners Guild Inc. entered "The Afternoon Tea Party" , designed by Val Ingeme, into the "Five Articles" Section of the Melbourne Sheep and Woolcraft Show c.1992. To qualify, the entry needed to be from a group of five people and be able to demonstrate a number of wool crafts in at least five different items. "The Afternoon Tea Party" was loaned to the NWM for display and was subsequently donated in 2003. This piece was designed by Janette Stonehouse and Val ingeme. the white bread and plate made by Janette Stonehouse and the brown bread by Val Ingeme.agricultural shows textile art handicrafts, geelong handweavers and spinners guild inc., felting, embroidery, ingeme, mrs val stonehouse, janette - geelong handweavers and spinners guild inc., agricultural shows, textile art, handicrafts

The Geelong Handweavers and Spinners Guild Inc. entered "The Afternoon Tea Party" , designed by Val Ingeme, into the "Five Articles" Section of the Melbourne Sheep and Woolcraft Show c.1992. To qualify, the entry needed to be from a group of five people and be able to demonstrate a number of wool crafts in at least five different items. "The Afternoon Tea Party" was loaned to the NWM for display and was subsequently donated in 2003.agricultural shows textile art handicrafts, geelong handweavers and spinners guild inc., crochet, felting, ingeme, mrs val, agricultural shows, textile art, handicrafts

"Federaton Flora" created by 13 members of the Geelong Handweavers and Spinners Guild Inc for the centenary of Federation in Australia. It won 1st prize in the Australian Sheep and Wool Show, Bendigo, 2000."Federation Flora" "Federation Flora" "Federation Flora" "Federation Flora" "Federation Flora" "Federation Flora" "Federation Flora"handicrafts, geelong handweavers and spinners guild inc., felting, hand spinning, hand knitting, weaving

Sample book of Collins Bros. Physician Flannels.Sample book of Collins Bros. Physician Flannels.8/08/1930textile mills felting, collins bros mill pty ltd, textile mills, felting

Worldwide, more than 100 million lambs are castrated, and their tails are docked each year. Numnuts is a technological innovation to improve animal welfare. It combines traditions with innovation. In the mid-1990s it was scientifically shown that the immense pain felt during castration and tail docking could be significantly reduced with the use of anaesthetic. For the next 15 years, the industry said the cost the welfare devices and development were too high. But todays ethical consumer has demanded that sheep have no more pain. Initiated in Glasgow in 2009, Numnuts took nearly a decade to develop. Here you can see five stages of development, from an early prototype to the Numnuts device farmers use today. Each phase of development took years of on-farm trails to achieve the final product. Today there is even NumOcaine, an approved local anaesthetic used by Numnuts. Using the simple elastrator ring and adding an anaesthetic injector, Numnuts delivers pain relief during tail docking and castration. In the world’s first rubber ring applicator with a pain relief delivery mechanism. Through innovation and consumer pressure the wool industry is going through a moment of rapid change.Four prototype numnuts tools made from white plastic and stainless steel, each in varying stages of production. FInalised version made with black, orange and clear plastics.8097.2 - Mk4 8097.3 - Numnuts Tool V7; 20 10 0 8097.4 - On label - Numnuts NumOcaine 100ml 65 proceeduressheep, tools, castration, innovation, docking

Worldwide, more than 100 million lambs are castrated, and their tails are docked each year. Numnuts is a technological innovation to improve animal welfare. It combines traditions with innovation. In the mid-1990s it was scientifically shown that the immense pain felt during castration and tail docking could be significantly reduced with the use of anaesthetic. For the next 15 years, the industry said the cost the welfare devices and development were too high. But todays ethical consumer has demanded that sheep have no more pain. Initiated in Glasgow in 2009, Numnuts took nearly a decade to develop. Here you can see five stages of development, from an early prototype to the Numnuts device farmers use today. Each phase of development took years of on-farm trails to achieve the final product. Today there is even NumOcaine, an approved local anaesthetic used by Numnuts. Using the simple elastrator ring and adding an anaesthetic injector, Numnuts delivers pain relief during tail docking and castration. In the world’s first rubber ring applicator with a pain relief delivery mechanism. Through innovation and consumer pressure the wool industry is going through a moment of rapid change.8098.1 - Numnuts tool made with stainless steel and black, orange and grey plastic. 8098.2 - Glass bottle with orange and grey plastic nozzle containing water for injection. 8098.3 - Yellow plastic case containing 12 stainless steel needles 8098.4 - 10 green plastic elastrator rings 8098.5 - Product cardboard box with the product image on the front8097.2 - on label - For animal treatment only WATER FOR INJECTION 100mL 8097.3 - On case - numnuts 12x Veterinary Hypodermic Needles On needdles - 18G 8097.5 - Numnuts targeted pain relief for tail docking and castrationnumnuts, tools, sheep, castration, docking

Collector says: "As a general rule I only collected blankets with a label, but there are always exceptions. The colour ways of these 3 are just so gorgeous I had to include them - especially as the brown and blue from the Bass Valley op shop was 1 dollar! The cream one with the mint panel + watermelon stripe is one of my favourite blankets ever despite no label - it looks like the blanket version of the Agnes Martin painting called Gratitude which is exactly how I felt finding this simple, beautiful, well kept blanket. Collector's note: "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."Double sized cream blanket with watermelon and mint stripesNo inscriptionwool, blanket, blanket fever, no label

Collector says: "As a general rule I only collected blankets with a label, but there are always exceptions. The colour ways of these 3 are just so gorgeous I had to include them - especially as the brown and blue from the Bass Valley op shop was 1 dollar! The cream one with the mint panel + watermelon stripe is one of my favourite blankets ever despite no label - it looks like the blanket version of the Agnes Martin painting called Gratitude which is exactly how I felt finding this simple, beautiful, well kept blanket.Collector's note: "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."Double sized, checked blanket, brown, blue and creamNo inscriptionwool, blanket, blanket fever, no label

Collector says: As a general rule I only collected blankets with a label, but there are always exceptions. The colour ways of these 3 are just so gorgeous I had to include them - especially as the brown and blue from the Bass Valley op shop was 1 dollar! The cream one with the mint panel + watermelon stripe is one of my favourite blankets ever despite no label - it looks like the blanket version of the Agnes Martin painting called Gratitude which is exactly how I felt finding this simple, beautiful, well kept blanket."Collector's note: "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."Double sized multicolour checked blanketNo inscriptionwool, blanket, blanket fever, no label

Ghost Blanket IV won the 'Award for Excellence' at Ozquilt Network's biennial juried exhibition Art Quilt Australia for 2021. The quilt presented with the Award for Excellence is acquired into the National Wool Museum's Collection dating back to 2000 with the art quilt "Earth Blanket". Artist statement: In "Ghost Blanket IV", woven checked blankets are deconstructed and reimagined to create an appliquéd work with the feel of lace. It celebrates the natural colours of alpaca fleece and the qualities of felted, woven fabric.Woven black white and grey checked design appliqued onto silk organza.ozquilt, quilt, art quilt, wool

"Carding Sets for Felt Wadding" - Befama Bielska Fabryka Maszyn Wlokienniczych; sole exporters: Metalexport, Warsaw, Poland, c.1950.Pamphlet for Carding Sets for Felt Wadding by Befama Bielska Fabryka Maszyn Wlokienniczych; sole exporters: Metalexport, Warsaw, Poland, c.1950.textile machinery, metalexport bielsko textile machinery works, carding, felting

Made 1949 to 1950.Cream felt beret worn by Ian Maidment as an infant.