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National Wool Museum
Booklet - Wool Topmaking Training Hints for Operators, Stuart Ascough, 1990s
Part of a collection of books, manuals, photographs, letters and clothing relating to the working life of Stuart Ascough. Stuart's career in the wool industry spanned over 43 years from 1960 to 2003 in various roles including Topmaking Plant Manager at Courtaulds Ltd. in Spennymore, U.K., Operations Manager at Port Phillip Mills in Williamstown Victoria, Marketing Executive, Early Stage Wool Processing at the International Wool Secretariat Melbourne, Australia and General Manager of Victoria Wool Processors Pty. Ltd. in Laverton North, Victoria. Throughout his career Stuart travelled extensively, and in the 1990s worked at many topmaking mills in China on quality improvement projects. He also provided technical advice and training at mills in India, Ukraine, Lithuania, Kyrgyzstan, Russia, Latvia, Byelorussia and other parts of Europe and Asia.Printed booklet bound with plastic black ring binder consisting of approximately 32 pages. Image on front cover shows textile machinery.front: Wool Topmaking / Training Hints for Operators / Prepared by: / IWS International Pty. Ltd. / Melbourne / Australiastuart ascough, international wool secretariat, victoria wool processors, port phillip mills pty ltd, topmaking, career, wool industry, training, technical advice, mills -
National Wool Museum
Wool Press
Sample wool press. Sample wool press. -
National Wool Museum
Clothing - Dress, 1979
This dress was created by Jean Inglis for a competition of garments hosted by the Geelong Handweavers and Spinners Guild at a ski weekend in 1979. It was entered in the ‘evening wear’ category of hand spun and knitted garments. The Warp was commercially brought 2/24 wool. The Weft was hand spun black Corriedale wool. This wool was brought at a sale in Geelong and was hand dyed and spun by Jean. The patter is a ‘Ripple’ variation of a ‘Crackle’ weave completed on Jean’s own Dobby Loom (pictured). Long black dress stretching from the feet, reaching up to a hood at the neckline and down to the hands in the sleeve. The dress is black with a glossy silver pattern in the form of a band around the hood, hands and feet of the garment. In these bands is a wavy pattern of silver and black lines. There are multiple thick and thin lines of both the silver and black colours mirroring each other as the pattern stretches around the garment. wool, weaving, hand spun, corriedale -
National Wool Museum
Taxidermy Sheep, Blossom, c1980
The success of any flock is through the strength of its females and Blossom, a Border Leicester/Merino Cross ewe is an excellent example. Border Leicester rams are mated with Merino ewes to produce fat lamb mothers. These first cross ewes are mated with meat sheep, such as Dorsets to produce hybrids that pass on quality wool characteristics to their offspring. The Border Leicester/Merino crosses produce good quantities of wool which, despite being of stronger micron than most Merino fleece wool (34 to 38 microns), is still in demand in the marketplace. The Border Leicester sheep takes its name from the border country between England and Scotland, the area in which the breed was first developed in the late 18th century.Border Leicester/Merino Cross ewe. Long body with white fleece. The nose is black and she has large ears, upright and alert. The head and legs are free of wool.drysdale, sheep, new zealand -
National Wool Museum
Coat, 1980
The coat along with matching hat and dress ensemble was made in 1980 at the Deniliquin TAFE 'Garment Assembly' course which was 2 years in duration. Mrs Sayer was always crafty but not great at other subjects. Coat is lined with a petticoat which Mrs Sayer wore in 1958. The seal fur collar was purchased by Mrs Sayer's mother at the shop 'Manly Corso' in Sydney, after WW1 with money from her father.Light brown wool coat with seal fur collar attached. Lined with red fabric from the petticoat of a taffeta and lace dress that was worn by Mrs Sayer in 1958. Wooden buttons down coat and on sleeves. Coat has been handmade and has no label.coat, wool, fur, fashion -
National Wool Museum
Scrapbook, Royal blanket presentation, Godfrey Hirst and Company Pty Ltd
Scrapbook, contains newspaper clippings,1950, extract from the Wool and Textile Newsletter, Sept 1950, radio results and script for recording. All associated with the presentation of a baby blanket from the staff of Godfrey Hirst & Co Pty Ltd on the occasion of the birth of Princess Anne.Scrapbook, contains newspaper clippings,1950, extract from the Wool and Textile Newsletter, Sept 1950, radio results and script for recording.Royal blanket presentation/ Godfrey Hirst and Company Pty Ltd BRITISH COMMERCIAL NEWS...textile industry textile mills - staff, godfrey hirst and co. pty ltd excelsior woollen and worsted mills, blankets, textile industry, textile mills - staff -
National Wool Museum
Mixed media - Book, Knitting, Patons Knitting Book no. 426
One of a collection of 56 knitting pattern books donated by Mrs Hilma Carruthers. These books had been used by Mrs Carruthers, her mother and her two daughters. This book was produced by Patons and Baldwins and contains patterns for women's garments knitted in Patons 'Fuzzy Wuzzy Angora' knitting wool (a wool-angora mix).No. 426 / Patons / KNITTING / BOOK / No. 426 / PATONS / FUZZY WUZZY / ANGORA / P&B / WOOLS / 1'6handicrafts - history knitting, patons and baldwins (australia) ltd, handicrafts - history, knitting -
National Wool Museum
Textile - Blanket, Invicta Mills, 1950s
Note from collector: 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." Double sized checked blanket , mint, peach and cream Pure Wool/Embassy/Made Expressly for the Myer Emporium Ltd./"For Value and Friendly Service"/by Invicta Mills/Made in Australiablanket, wool, blanket fever, invicta mills, myer emporium -
National Wool Museum
Archive - Advertisement, Laconia Woollen Mills, 1949
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." Australia's Most Beautiful Blankets (Lady with Blanket)The Laconia Blanket/Guaranteed All Pure Wool/Australia's Most Beautiful Blankets/Laconia Blankets Make Goodnight a Certainty blanket, blanket fever, wool, laconia, advertisement -
National Wool Museum
Poster, Midsummer Festival, Dalecarlia, Sweden
"Midsummer Festival, Dalecarlia, Sweden" - Dept of Education, International Wool Secretariat, part of the Festivals of the World SeriesPrepared by the Department of Education, International Wool Secretariat, Dorland House, 18-20 Regent St Londonwool marketing, international wool secretariat, dept of education -
National Wool Museum
Photograph - Construction of Dennys Lascelles Austin & Co's Reinforced Concrete Wool and Grain Stores, Geelong, Edward Giles Stone, 1910-1912
Through improvements in productivity after 1095, Dennys, Lascelles, Austin and Co. determined to expand and engaged the Sydney-based engineer Edward Giles Stone. The resulting Bow Truss Building was claimed as being the largest flat-roof space in the world (almost an acre) without visible support. The Bow Truss Building was demolished amid a blaze of publicity in May 1990.Collage of 15 photographs mounted in a grey/brown cardboard backing depicting various stages of construction of wool & grain stores. Wooden frame.Wording: Dennys Lascelles Austin & Co. 1910-11;Location: Top centre Wording: G.C. Wilmot Photo Geelong;Location: Bottom right cornerdennys, lascelles, austin, construction, grain, wool, building, geelong, architecture -
National Wool Museum
Undervest, c.1960
These wool undervests were purchased by Edith Bender for her husband Edwin, prior to 1963. Edwin would catch a ‘Red Rattler’ train along the North Shore line to go to work in Pitt Street., Sydney. Edith was concerned Edwin would catch a cold in the unheated train or in his unheated office, so she brought these woollen undervests for him to wear to work. Edwin would wear the undervests under a woollen suit and with a woollen overcoat. Edwin passed away in 1963, at which point Edith stored the undervests away. They were passed to Edith’s daughter when Edith passed away in 1980. They were then passed to Tanya Davis on the death of her mother. Tanya donated the undervests to the National Wool Museum in 2021.2x cream wool undervests. Henley style with short sleeves and three buttons at the front. Labels from the maker ‘Braemar’ have been stitched to the neckline of both vests. An additional label is stitched under the first button on the front of both undervests. Label stitched to neck of vest: BRAEMAR / MADE IN SCOTLAND / OPTIMUS / PURE WOOL / TREATED TO RESIST / SHRINKAGE / QUALITY / B. OPTIMUS Label stitched to front buttons of vest: MADE IN SCOTLAND / FOR FARMER’S / SYDNEY Attached swing tag: BRAEMAR / The WASHING of WOOLLENS / PREPARE a bath of good bar or flake soap, thoroughly dissolved in water not hotter than the hands can bear. Squeeze the garments through the hands several times in the bath. Don’t rub them on a board. Rinse in warm water until soap is thoroughly removed. Wringing should be done in the hands. Stretch well to width and length and dry at once, preferably in the open air Stretch again in the hands when dry. Attached swing tag. Reverse: IMPORTANT POINTS / Do not use soda or washing powders. / This garment must not be subbed on a board, or subjected to mechanical friction.red rattler, wool clothing -
National Wool Museum
Photograph
W L Wright. General Manager, Valley Worsted, Geelong, addressing delegates at the 1955 International Wool Textile Research Conference. One of thirteen photographs related to the 1955 International Wool Textile Research Conference in Australia.W L Wright. General Manager, Valley Worsted, Geelong. addressing delegates at the 1955 International Wool Textile Research Conferencewool - research, gordon institute of technology valley worsted mill, lang, dr w. roy wright, mr w l - valley worsted mill -
National Wool Museum
Makers Plate
Makers plate from a D. & M. portable wool press.D. & M. / Portable Wool Press / (PATENT No. 3860/31) / SOLE AGENTS: / Goldsbrough, Mort & Co. Ltd. / MELBOURNEwool press - portable -
National Wool Museum
Medallion, CENTENAIRE DU DELAINAGE MAZAMET, 1951
This medallion was struck to celebrate the 100th anniversary of fellmongering in Mazamet in 1951. Fellmongering - In French, ‘delainage” means, literally, ‘de-wooling'. It is the industrial process of separating wool from sheepskins. In the 19th century, the southern French town of Mazamet became the world centre of délainage and played an important part in the Australian wool industry. At one time Mazamet was reputed to be the 15th richest town in Europe, and it was said that the town’s branch of the Banque Nationale de Paris (French banking firm) was the second largest in France. At its height, Mazamet had 48 fellmongeries and imported more than 100,000 tonnes of sheepskins a year from the southern hemisphere, mostly from Australia and Argentina. It also supported numerous associated industries such as tanneries, spinning mills and clothing manufacturers. In the 1980s Mazamet’s fellmongering industry fell into decline under pressure from environmental concerns and cheap imports. The town’s last two fellmongeries closed in 2004. The town continues to have a strong relation to Australia, with street names such as, Rue de Australie, Adelaide, Brisbane, Melbourne and Sydney in recognition of a connection to the two distant lands. Today, half a century since wool importation largely ended, there remains a link to the past. Elite quality leather and woollen clothing companies such as Hermes and Chanel still source much of their stock in Mazamet. This medallion was presented to William Haughton and Co. who were one of Australia’s largest wool-buying companies of the first half of the 20th century. Wm Haughton had a major presence in Geelong and its “SKINS WOOL HIDES TALLOW etc.” signs were prominent on railways stations throughout the Western District and beyond. Haughtons had branches in all Australian capital cities, New Zealand, London and Bradford. Its agents in Mazamet were Maison Louis Maffre, an enterprise founded by M. Louis Maffre, mayor of Mazamet from 1912 to 1919. This medallion was donated to the National Wool Museum by the family of Sir Robert Southey AO CMG, former managing director of Wm Haughton & Co.Bronze medallion contained within purple case. On one side of the medallion, a mill worker is seen scraping the wool off the treated sheepskin. On the reverse the inception can be read.Wording: CRESCAM ET LUCEBO // CENTENAIRE / DU DELAINAGE / MAZAMET // 1851-1951. Smooth edge stamped with a cornucopia and the inscription BRONZEmazamet, fellmongering, délainage -
Ballarat Clarendon College
Student work
This worn and solied exercise book was used by Andrew Crawford (BC 1952) to record handwritten notes and diagrams from his Leaving level wool classing classes at Ballarat CollegeSoft covered No 122 exercise book with sewn binding and fabric spine; patterned covers and faint-lined pages; marked wear and soiling; handwritten inscription on front coverHandwritten inscription on front cover; Andrew Croawford / Leaving wool-classing / Ballarat Collegeandrew-crawford, woolclassing, student-work, 1952, ballarat-college, leaving, curriculum, -
National Wool Museum
Book, Dennys, Lascelles Limited Annual, 1927
"Dennys, Lascelles Limited Annual", third issue, August 1927. Annual publication produced by the wool brokers Dennys, Lascelles Limited and containing articles of general interest, as well as on wool related topics. On the front cover is a fine printed reproduction of a 1927 sketch by the artist Victor Cobb depicting the Dennys Lascelles wool store (cnr Moorabool and Brougham Sts; now housing the National Wool Museum).Three copies of the report. Front cover of the third issue of the Dennys, Lascelles Ltd Annual of Aug. 1927. The sketch is the Dennys, Lascelles wool stores (now NWM) and is by Victor Cobb. Detail from the back cover of the third issue of the Dennys, Lascelles Ltd Annual of Aug. 1927.wool brokering, wool growing, agriculture, dennys, lascelles limited -
Bendigo Historical Society Inc.
Clothing - FAY BRYANT COLLECTION: SUTEX MEN’S WOOLLEN CARDIGAN, 1970s
Pure wool, navy blue men’s cardigan. Five navy blue buttons. One bound pocket on each side front. A 10.5cm wide band of woven pattern on each side front. Fine knit of heavy density. Set in sleeves with a 2cms wide fine knit cuff. Machine stitched button holes. Overlocked seams.Sutex ® Quality Knitwear. Made in Australia. Size 18 to fit 100cm. PURE WOOLcostume, male, cardigan -
National Wool Museum
Woollen Coat of Arms
Made in 2016 for the Australian Sheep and Wool Show. It was entered into the needle felting section and won. Emu and Kangaroo made from Ultra fine Merino from a sheep called Ninja with a micron count between 14-15 from Casalana fine wool.Woolen Coat of Arms on round metal frame. Kangaroo and Emu made of Ultra fine Merino and real Emu feathers. Coat of Arms felted together by hand. Winning sash, judges scorecard, wool sample and Certificate Included. -
NMIT (Northern Melbourne Institute of TAFE)
Sleeveless Football jumper: CTC 1970, Ryder Productions
CTC dates from 1970- when CTS changed its name.Sleeveless Football Jumper, Collingwood Technical College 1970-, with CTC logo on side, and number 3 in a square on the back. Label inside 'A / RIDER / PRODUCTION / 70% Acrylic / 30% Wool' with a size 36 smaller tagCTC logo on side, and number 3 in a square on the back. Label inside 'A / RIDER / PRODUCTION / 70% Acrylic / 30% Wool' with a size 36 smaller tagcollingwood technical college, football jumper, uniforms, teams, nmit. -
Lakes Entrance Regional Historical Society (operating as Lakes Entrance History Centre & Museum)
Photograph, 1890 c
Also a second black and white photograph taken of loaded wool wagon beside woolshed at Delvine Park which was the oldest in the area. Delvine Park was settled by Scott family in 1843 05036.1 10 x 15 cmBlack and white photograph showing a large bullock team and driver with a loaded wool wagon preparing to leave Delvine Park sheep station Lindenow Victoriatransport -
National Wool Museum
Archive - Advertisement, Laconia Woollen Mills, 1964
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." 'Treat yourself to the luxury of Australia's best blankets (blanket range): three examplesTreat yourself to the luxury of Australia's best blankets/Laconia 100% Pure Lamb's Wool/Make Goodnight a Certainty blanket, blanket fever, wool, laconia, advertisement, australian women's weekly -
National Wool Museum
Archive - Advertisement, Laconia Woollen Mills, 1951
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." 'So warm, so soft, so everlasting (lambs frolicking on a pile of blankets)So warm, so soft, so everlasting/Laconia Pure Lambs Wool Blankets/Make Goodnight a Certainty blankets, blanket fever, wool, laconia, advertisement, australian women's weekly -
Port of Echuca
Photograph, P.S. Rodney with barges Horace & Nelson, c.1890
P.S Rodney with barges Horace & Nelson laden with wool bales bought into the Port to be unloaded onto rail trucks to go to markets in Melbourne. c.1890 Paddlesteamers travelled the river systems to bring wool from out- lying properties into the Port of Echuca to be transported by rail to Melbourne. This was prior to road & rail transport in the 1800'sOne of thousands of photos taken depicting the transportation of wool from out- lying properties to the rail head at Port of Echuca using paddlesteamers. P.S.Rodney alongside barges Horace & Nelson, tied to historic Echuca Wharf, with Pride of the Murray paddlesteamer & barge in back ground all vessels loaded with wool bales and crew resting on these. Riverbank lined with red gums. Handwritten in pen on lower left back corner "Rodney with barges Horace & Nelson c. 1890"farming, economy, p s rodney, port of echuca, wool bales, wharf, barges, horrace, nelson, paddlesteamer rodney, echuca -
National Wool Museum
Handbook, 1940
Donated by Mrs Robyn Adams, daughter of booklet owner, a wool grower named Victor Clyde. Clyde operated in North-Eastern Victoria.Paper booklet bound with three staples on spine. White/off-white colour with dark blue text. Heading at the top reads -GOLDSBROUGH MORT / AND COMPANY LIMITED-. Text at the bottom of the page reads -WOOL HAND-BOOKS and / WAYBILLS-. Inside front cover and first two pags are notes on how to use the book and how to prepare a wool bale for transport. Booklet is made up of pages with carbon paper copying, removable sheets upon which bale details can be described, coloured yellow and blue. First yellow page has been filled in by owner. Inside back cover has list of things not to do when using booklet. Back cover has an image of the wool warehouse.mrs robyn adams, wool transport, wool auction, wool sales, wool growing, waybills, elder smith goldsbrough mort limited, dalgety and company limited elder smith goldsbrough mort limited, goldsbrough, mort and company limited -
National Wool Museum
Vehicle - Ford Truck, Ford Motor Company, 1930
1930 AA Ford 1.5 tonne (30cwt) truck. Originally owned by Blakiston & Company, Geelong. Built in 1930, this truck carried wool and general goods in Geelong and the Western District until the early 1940s. It was restored in 1989-1990 by David Malkit Automotive, Belmont, Geelong East Technical School. Specifications: 4 cyclinder side valve engine 201 cu.in. capacity 24 hp (R.A.C.) rating 40 bhp @2200rpm Optional 4 speed non-synchronised gearbox Heavy duty rear axle with torque rod Transverse front springs Cantilever back springs Coach built cab and tray bodyDark green truck with painted lettering on door and tray. The cabin has a black bench seat, and body has a wooden tray.printed: NATIONAL WOOL MUSEUM / GEELONG / BLAKISTON & Co. / Pty. Ltd. / CARRIERS / GEELONG / No 1 Licence plate: WOOL - 30ford, truck, transport, 1930s, vehicles -
National Wool Museum
Photograph
Photograph of a Kettle Decatizing apparatus, as produced by H. Krantz Soehne (manufacturers of finishing machinery) of Aachen, Germany. It was sent to Arthur Heaton & Co. Ltd as part of a price quotation. Decatizing is the process of forcing steam through wool.Photograph, 1931, of a Kettle Decatizing apparatus, as produced by H. Krantz Soehne (manufacturers of finishing machinery) of Aachen, Germany. Decatizing is the process of forcing steam through wool.H. KRANTZ SOEHNE / AACHEN. 231.textile machinery textile finishing, h. krantz s?? arthur heaton and co. ltd, decatizing, textile machinery, textile finishing -
Bendigo Historical Society Inc.
Clothing - HANRO COLLECTION: PURE WOOL JACKET AND SKIRT
Pure wool black and dark green check pattern suit jacket. Single-breasted fastened with three buttons (2.4cm diameter) and two press studs. Buttonholes on a placket, of fabric cut diagonally. Classic collar. Top button at throat. Back of jacket made from four pieces. Front of jacket made of three pieces on each side to form shaping. Pockets inserted to seams at waist level on both sides of the jacket. Long sleeves tapering to wrist. Pure wool. Black and green, woven in a check design A-line skirt, with a long stitched down ''plackett'' effect of fabric cut diagonally, opening to a pleat, just left of centre front.Label inside back neck, ''Hanro tailored by franchise from Handschin and Ronus Ltd Switzerland. 100% wool. 18.costume, female, hanro pure wool jacket -
National Wool Museum
Letter
Letter, from Robert Fellowes, to Colin Atkins and Rachel Faggetter, conveying Queen Elizabeth II and the Duke of Edinburgh's thanks for their visit to the National Wool Museum 28th April, 1988.Letter, from Robert Fellowes, to Colin Atkins and Rachel Faggetter, conveying Queen Elizabeth II and the Duke of Edinburgh's thanks for their visit to the National Wool Museum 28th April, 1988.Robert Fellowes THE FRAMEWORKS/167 VICTORIA AVE/ALBERT PARK/.. -
National Wool Museum
Book, Knitting, Woolly Winners
This book was owned by the late Dr Elizabeth Kerr and was donated to the Museum by the executor of her estate, Margaret Cameron. It was produced and given away by the magazine "Family Circle" in 1983 and contains knitting patterns designed by Jane Shepherd of New Zealand using Shepherd of New Zealand wools.WOOLLY WINNERS . . . / for beginners and dyed in the wool / knitting buffs / Designed by Jane Shepherdknitting handicrafts - history, shepherd of new zealand family circle, knitting, handicrafts - history