Victorian and Edwardian ladies adorned their hats with various bird feathers. Although living conditions in Moorabbin Shire c1910, were basic families still held onto their traditional English and European customs and took pride in presenting elements of refined society. Gladys Reed was a member of the Ormond Choral Society c 1950. who performed plays and musicals the City of Moorabbin and she was skilled in craftwork, hand knitting, crochet and dressmaking. Her garments were used by her family and the Ormond Choral Society C1910 Women in Moorabbin Shire followed the fashion from Europe and made their own clothes and accessories using their dressmaking, craftwork and design skills 8 x feathers of various sizes and colours for adorning a Lady's hat c 1910 a) Blue & b) White Ostrich, c) Black Cockerel, d) Black Emu Feathers. e) Brown stripped Coque Diamond Tail f) Pink dyed ostrich, g) Black duck, h) black fur clothing, millinery, hat feathers, haberdashery, crochet, doilies, brighton, moorabbin, pioneers, dressmaking, market gardeners, early settlers, craftwork , bentleigh, lacework, moorabbin shire,reed gladys, clark judy, dairy farms, fruit orchards, footwear, shoes, buckles, clothing, silver, pewter, brass, victorian fashion, edwardian fashion, mckinnon, moorabbin, cheltenham, wedding dresses, evening wear,

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

Booklet- paper, cream, black writing, red star on cover, 19 pages“AUSTRALIAN COMFORTS FUND’ VICTORIA DIVISION ACF GUIDE TO KNITTING- STANDARD SOCKS, KHAKI STOCKINGS, GARTERS, SPIRAL STOCKINGS (NAVY), BALACLAVA CAP,LONG SLEEVE PULLOVER, SLEEVELESS PULLOVER, SCARF,MITTENS, CAP, AIRMAN’S NECL MUFF, AIRMAN’S WOOLLEN GLOVES, FOR ACTIVE SERVICE. MARCH 1941australian comforts fund, knitting for the troops

This tea towel was manufactured in 1978 in Ireland and shipped to Australia. This was in a period when the C.W.A. was the major women's organisation which had the greatest influence amongst rural women (especially in isolated areas). This was a period when broad based communications were mainly by radio,women orientated magazines and the telephone. The relay of television to "remote" rural areas was not yet established. The CWA was therefore a very important organisation that catered exclusively to women's needs. The C.W.A. motto "Honour our God, Loyalty to the throne, Service to the country, Through country women, For country women, By country women." The atmosphere was one of "sisterhood" and covered nearly all the needs of rural based women. This one organisation incorporated knowledge and learning targeting women who physically may be isolated but not mentally. On the tea towel are portrayed all the activities that would be beneficial to rural women.This tea towel with its respective motifs is very significant to the Kiewa Valley as it related especially to women who felt the limitations of social interactions within a rural area. This tea towel represents a era where communications was relatively based on radio, magazines, books and limited telephone access. Within these restrictive interactive communication levels, the isolation of a "back o' Bourke" location applied tremendous mental fatigue on women more than on men.This CWA Victoria Golden Jubilee (1928-1978) tea towel is made from Irish flax at the Blackstaff Flax Spinning and Weaving factory. It is therefore of high quality and very durable. The major colours projecting from a light blue background are red, yellow, green, orange and black. The motives portrayed the activities of the CWA in 1978. These activities are embroidery, crocheting, dress making, knitting, cooking, art, macrame, drama, music, patchwork, toy making and community relief, pennies for friendship, emergency relief and welfare, residential club flats, the thanks giving and Papua New Guinea.The main or central theme of this tea towel is presented in the central area within three rings. "1928" on the left and "1978" on the right. On the top part "GOLDEN JUBILEE" and at the bottom "COUNTRY WOMEN'S ASSOCIATION OF VICTORIA" There are various shapes representing the activities listed above.cwa promotional material, cwa golden jubilee, women only organisations, country women's association

Share Register with a black patterned cover and red cloth tape spine. Entries from 1933 to 1950. Label on the front has Hanro (Aust) Knitting Mills Pty Ltd, Share Register (printed) and Ordinary Shares (handwritten). Index at the front of book. name, address and occupation are listed at the top of the double page. Columns for date, particulars, No of Transfer, Distinctive Nos - From and To, DR, Cr, Balance of Shares Held, Distinctive Nos Held - From and To, Dr - Date and Amount, and Cr - Date and Amount. Book only partly used. Each double page is numbered.hanro, clothing, share register, hanro collection - share register 1933 - 1950, mary anderson, eugen bloch, john raeburn balmer, katie bloch, estate sydney raeburn balmer, consortium hanro, william crowley, william r cook, favoloro's investment co pty ltd, fiduciaire generale sa, alexander lewis goldie, mabel gittins, albert vivian gray, chas handschin (dec'd), alice handschin, catherine hunter, william dill hunter, annie chambers hunter, mary elizabeth hunter, frank harris, wiliam roy hiscock, herbert keck, harry francis longstaff, george victor lansell, edith lansell, audrey e lansell, marie g lansell, patrica h lansell, jane t lyons, lillie goudie mcgregor, philip henry mckean, alan t miller, william bowman hanna neill, evelyn adrienne neill, elizabeth neill, edith fortuna victoria norbury, r a rankin, w h russell, w j stephens, j smalley balmer cook, john jepson stanistreet, kenneth smalley, johnathon smalley, royal james v stilwell, william oliver stephens, william wright

The Artist in Residence program enabled research of the Museum's collection of artefacts relating to 11th Battalion AIF. Access was provided to the behind the scenes storerooms of uniforms, banners, photographs, artefacts and diaries. Michele summarised her experience with the project as follows: "It was an interesting experience and a topic I would not probably have considered had I not been asked. The mixture of history and the people who lived through these times has been an absorbing and rewarding journey for my art practice."Mixed media / textile art from Department of Culture and the Arts, Artist in Residence program 2015 by Michele Eastwood. The hand knitted sleeveless jumper in the Museum, made by Sergeant John Ellwood Rudd of the 48th Battalion was the inspiration behind this work. With great ingenuity John Rudd unwound the knitted socks sent by the women back home. Creating knitting needles fashioned from the barbed wire surrounding the POW camp he was incarcerated in, he knitted a jumper to help him through the freezing winters of Germany in the First World War. Original artefact was inspiration for this artistic interpretation.

Colour photographs of Newspaper Cuttings. (1) Newspaper cutting of article in "The Examiner." c.1949. "Miss Judith Henry." Former Burnley student starting her career. (2) Newspaper cutting, ""Knit One, Purl a Couple." 1947. Female students at Burnley knitting for Britain. (3) Newspaper cutting, "Sharpening Up." c.1947. Female students cleaning and sharpening tools. Students named: J.C. Henry 1948, Robina Russell (Beaufort), Virginia Scott 1948, Betty Beaurepaire 1948. Probably taken by A.P. Winzenried for possible inclusion in, "Green Grows Our Garden."the examiner, judith henry, female students, career, burnley, tool sharpening, j.c. henry, robina russell ( beaufort), virginia scott, betty beaurepaire, a.p. winzenried, knitting for british babies, begonias, city park

A knitted handbag made by patients of Mayday Hills Asylum.Mayday Hills Asylum was one of the three largest psychiatric hospitals in Victoria, and played an important role in the treatment of mental health illnesses from its establishment in 1867 to its closure in 1995. As part of prescribed treatment, many patients participated in craft activities were they were able to create an array of objects. A blue and white knitted handbag with cane handles, made by a patient of Mayday Hills.beechworth, burke museum, mayday hills asylum, knitting, handbag, bag, craft, fibre art

Knitted handbag made by patient of Mayday Hills Asylum.Mayday Hills Asylum was one of the three largest psychiatric hospitals in Victoria, and played an important role in the treatment of mental health illnesses from its establishment in 1867 to its closure in 1995. As part of prescribed treatment, many patients participated in craft activities were they were able to create an array of objects. A pink knitted fabric handbag in moss stitch with plastic handles.beechworth, burke museum, mayday hills asylum, knitting, handbag, bag, fibre art, craft

This baby’s bonnet is an example of the skills and craftwork of the women of the pioneer families in Moorabbin Shire A fine wool baby’s bonnet, hand -knitted with crocheted edges and hand sewn flowers at crown and around face edge. C1900 knitting, crochetwork, craftwork, clothing, pioneers, early settlers, moorabbin brighton bentleigh, embroidery

The Aquarian Esoteric Group Melbourne made the robe as an entry in the 'In the Tracks of Hercules' exhibition in London December 2005. See attached notes.Front cover of the exhibition catalogue for "In the Tracks of Hercules" Entry for 'Minerva's Robe' in exhibition catalogue "In the Tracks of Hercules" Promo card for exhibition "In the Tracks of Hercules" First page of "Triangles Bulletin" which contains an article about the exhibition "In the Tracks of Hercules". Concept sketch of the front of 'Minerva's Robe' Concept sketch for back of 'Minerva's Robe' Minerva's Robe Back of Minerva's Robe Detail of Minerva's Robe Detail of Minerva's Robe Comments on making the robe by the group Poem "Minerva's Robe" by Helen Baxter Articles offered form for 'Minerva's Robe' The history of 'Minerva's Robe' Document "In the Tracks of Hercules 'Minerva's Robe' The Journey" 'The Process of Creating "Minerva's Robe"'knitting handicrafts textile art, aquarian esoteric group, costume, heywood, mrs anne, knitting, handicrafts, textile art

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 mae by Les Clarke from wool.agricultural shows textile art handicrafts knitting, geelong handweavers and spinners guild inc., ingeme, mrs val, agricultural shows, textile art, handicrafts, knitting

Willandra Sarah"WILLANDRA SARAH CHAMPION MEDIUM WOOL EWE/ 1986-1987-1989/ MELBOURNE SHEEP SHOW STEPHENSsheep breeding sheep stations agricultural shows merino sheep knitting, willandra merino stud, jerilderie, sheep breeding, sheep stations, agricultural shows, merino sheep, knitting

The knitter was Vera Neale,1901 - 1990. Married with three children, Vera knitted with one and two ply wool, often using piano wire or bicycle spokes as needles, entering the garments in agricultural shows. This is one of 23 garments donated by her granddaugher, Mrs Glenda Ilsley.Pale pink bed jacket, long sleeved, hand knitted. Vertical pattern on sleeves and most of body. Round collar with tie.knitting handicrafts, neale, mrs vera, knitting, handicrafts, bed jacket, clothing, children

The Wreck of Hope (Long-nosed Common Dolphin skeleton, Delphinus delphis) featured as part of the exhibition Anatomy Lessons, shown at the National Wool Museum in 2024. The exhibition featured meticulously-sculpted, life size skeletons, making visitors question their place in this web of the living and the dead. From a towering giraffe stretching 4.4 metres in height, to an army of over 50 delicately rendered frogs, this exhibition was enthralling in scale. Each sculpture is an accurate portrayal of a real animal and is carefully measured, drawn, and moulded from steel, wire, and foam. The frame is then intricately knitted over to create these thought-provoking pieces. Each sculpture tells a story, one of the collection of animals by museums and collectors, of Western safari hunters, of human encroachment, and of the often-sad role of the animals in our lives. These underlying concepts are explored and reflected by the materials used. Wool, that speaks of warmth, of comfort, of care, meets the size, grace, and sheer breathtaking beauty of the pieces, clashing with the hard and complex stories beneath. This knitted dolphin skeleton was the start of Beevor's interest in comparative anatomy. Beevors recalls viewing a dolphin, one of many skeletons alongside a mouse and a lion in the Australian Museum's collection during a school visit in the 1970s. At the time, school children watched TV reruns of 'Flipper', which portrayed dolphins as intelligent and noble animals. Elsewhere, the conservation movement was growing, and appeals to protect marine mammals were gaining momentum through the 'Save the Whales' campaign. The fascination with live dolphin shows had grown throughout the 1960s and 1970s and the ethics began to be questioned. Some believe they played an important role in raising public awareness of cetaceans and their welfare. Others argued the performances glorified the dominance of heroic trainers over the subordinate dolphin, and offered little education about the dolphins' natural characteristics nor prioritised their welfare. Many of these facilities are now closed and all dolphin species are protected by international accords aimed at conserving wild populations. Despite this dolphins are still at risk of swallowing plastic waste, mercury toxicity, toxoplasmosis, boat impacts and being bycatch in commercial fishing operations. Originally from Australia, Michele Beevors has been practicing in New Zealand for the last 20 years. She is Head of Sculpture at Dunedin School of Art, Otago Polytechnic, New Zealand’s oldest, and one of its most prestigious, art schools. Beevors has exhibited in galleries, museums, and exhibition spaces in across New Zealand, Australia and Vienna with art that is defiant, unconventional, and moving.Life sized knitted skeleton of a dolphin, with white wool and internal steel, foam and wire frame. The dolphin is mounted on a wooden base, made from a desk, with books placed under the desk lid. The books and desk are painted black.knitting, art, dolphin, conservation, sculpture, skeletons, anatomy lessons, michele beevors

See Item 11000.189Photograph of Hanro Employees: Black and white photo taken outside the Hanro Factory in Hargreaves Street Bendigo. Large group of employees in front of the brick building. There are eight windows and two entrances in the photo. At the top of the building is *Hanro Aust Bendigo Knitting Mills Pty Ltd* Hand written in blue ink is *GP. 98. On the back is the Royal Historical Society of Victoria Bendigo Branch stamp in blue. Hand written in blue ink is *Staff & Management John Brow which has been crossed out. Employees. Hanro has been written instead. P13 (C) 64 x 21 GP 98 134. Box 116Aphotograph, person, hanro, hanro employees

Early settlers and market gardeners established their families in Moorabbin Shire and this item shows the skill and craftsmanship of the women of these familiesThe skill and craftsmanship shown in these infant's bibs, bonnet and bootees is an example of the clothing made by the pioneer settlers and market gardeners in Moorabbin Shire Baby's bibs, bootees and bonnet (i) booties crocheted silk (ii) 2 x embroidered bibs (iii) bonnet & bootees wool clothing, craftwork, knitting, crochetwork, moorabbin, cheltenham, early settlers, pioneers, market gardeners

When celluloid was invented and first came to prominence in the 1870s, dolls were nearly all breakable and fragile--bisque and china dolls were easily shattered and papier mache and wax easily ruined. So doll companies started experimenting with celluloid to mould dolls. By the early 1900s, celluloid dolls were plentiful, since celluloid was easily moulded and generally inexpensive. Celluloid is one of the first synthetic plastics. It is a plastic created from wood products that includes cellulose nitrate and camphor. However Celluloid is flammable and deteriorates easily if exposed to moisture, and can be prone to cracking and yellowing with certain formulations. Celluloid dolls were produced as late as the 1950s, but the vast majority were produced from 1900 through the 1940s. The knitted outfit was made by an unrecorded home knitter probably as a present for a child. A very small celluloid doll dressed as a boy in fine hand -knitted hat, vest, jacket and pants.celluloid, dolls, knitting, wool, craftwork, moorabbin, bentleigh, cheltenham, toys

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 commercial wool.agricultural shows textile art handicrafts knitting, geelong handweavers and spinners guild inc., embroidery, 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

Angel featured as part of the exhibition Anatomy Lessons, shown at the National Wool Museum in 2024. The exhibition featured meticulously-sculpted, life size skeletons, making visitors question their place in this web of the living and the dead. From a towering giraffe stretching 4.4 metres in height, to an army of over 50 delicately rendered frogs, this exhibition was enthralling in scale. Each sculpture is an accurate portrayal of a real animal and is carefully measured, drawn, and moulded from steel, wire, and foam. The frame is then intricately knitted over to create these thought-provoking pieces. Each sculpture tells a story, one of the collection of animals by museums and collectors, of Western safari hunters, of human encroachment, and of the often-sad role of the animals in our lives. These underlying concepts are explored and reflected by the materials used. Wool, that speaks of warmth, of comfort, of care, meets the size, grace, and sheer breathtaking beauty of the pieces, clashing with the hard and complex stories beneath. The smallest of Beevors’ knitted pieces was made while reflecting on the global tropical fish trade. At the time, press reports predicted that the imminent release of the film ‘Finding Dory’ would increase demand for pet tropical fish. People enjoy a good fish story, but studies have revealed that widespread reports of the ‘Nemo Effect’ following the debut of the film’s predecessor, ‘Finding Nemo’, were exaggerated. Data collected to assess people’s interest in blue tang, the species of the title character in ‘Finding Dory’, revealed an increase in online searches for “blue tang”, but no evidence of an increase in their trade or visits to public aquariums to observe them. When discussing the action and attitude effects of pop culture depictions of animals, it is necessary to investigate evidence-based material. Pop culture, wildlife documentaries, web videos, blogs, and news stories: there is a great ocean of content to consume, but the mechanisms by which witnessing these representations of animals and nature leads to tangible behaviour change, positive or bad, individual and social, remains poorly understood. In a world inundated with messaging and content, could a simple phrase like “fish are friends, not food” influence attitudes? Originally from Australia, Michele Beevors has been practicing in New Zealand for the last 20 years. She is Head of Sculpture at Dunedin School of Art, Otago Polytechnic, New Zealand’s oldest, and one of its most prestigious, art schools. Beevors has exhibited in galleries, museums, and exhibition spaces in across New Zealand, Australia and Vienna with art that is defiant, unconventional, and moving.Knitted white woollen fish skeleton, with black pupil.knitting, art, conservation, sculpture, skeletons, anatomy lessons, michele beevors, fish, angel fish

Directions for the knitting of standard socks for men in active service during WWI. Issued by the Lady Mayoress's League, Melbourne, in September 1915. The Lady Mayoress's League, or Lady Mayoress's Patriotic League, was formed on 7th August 1914 by Lady Hennessy, Lady Mayoress of the City of Melbourne. The League was formed to supplement the official supplies issued to each soldier by providing 'comforts' such as socks and food packages, and by 1915 was the recognised agent in Victoria for the reception and despatch of all gifts other than those sent privately. In September 1916 it became part of the Australian Comforts Funds, an Australia-wide umbrella organisation formed from individual state-based organisations of this type. Folded single sheet of white paper that has discoloured with age, printed in black on both sidesthe lady mayoress's league, wwi fund-raising

From it's beginning in 1867, the Royal Victorian Institute for the Blind grew in size and its number of employees and benefactors. These bound volumes of annual reports contain the information sent to subscribers of the Institute and outline the notable events and difficulties facing the blind and the RVIB. These include acknowledgement of the RVIB as the second largest industrial institution for the blind and the only one which pays married blind workers the sighted basic wage, the youngest child received was only 8 weeks old and her mother was in hospital, at the 'Empire Knitting Competition' held in Melbourne RVIB girls won a first, a second and two special prizes for their work, and congratulating the Tasmanian Education Department for establishing classes for myopic and partially sighted children. 1 volume bound with illustrations.royal victorian institute for the blind, annual reports

Share Register with a black patterned cover and red cloth tape on the spine. Label on the front has Hanro (Aust) Knitting Mills Pty Ltd and Share Register printed on it. Underneath is written 8% Preference Participating. Bolton Bros Pty Ltd sticker inside the front cover. Index at the front has the name of the shareholders. There are thirty eight entries from 1933 to 1949, see references. Name, address and occupation are written at the top of the pages. It has columns for the date, particulars, No of Transfer, Distinctive Nos From & To, Dr., Cr., Balance of Shares Held, Distinctive Nos Held From, To, Dr - Date, Amount, Cr - Date and Amount. About half the book is unused.hanro, clothing, share register, hanro collection - share register 1933 - 1949, bolton bros pty ltd, mary anderson, john raeburn balmer, eugen bloch, katie bloch, william reddish cook, william crowley, favolors's investment co pty ltd, alexander lewis robertson goldie, mabel gittins, ernest gossweiller, executers of charles handschin, catherine hunter, alice handschin, alice chambers hunter, mary elizabeth hunter, william dill hunter, william roy hiscock, frank harris, herbert keck, george victor lansell, edith lansell, ausrey edith lansell, marie gwendoline lansell, patricia hope lansell, lilly goudie mcgregor, philip henry mckean, william bowman hanna neill, evelyn adrienne neill, elizabeth neill, edith fortuna victoria norbury, ronald alexander rankin, kenneth smalley, william john stephens, john jepson stanistreet, william wright, william oliver stephens, consortium hanro, niduciaire general sa

Twenty page book with black and white printed text and graphics. The front cover features a colour image of a man and a woman wearing matching knitted jumpers featuring an emu motif. Front: [printed] 1003 / PRICE / CODE / H / Patons / H A N D K N I T S / PATONS 8 PLYSpattern books, pattern, emu, australiana, knitting, patons, handknits, craft, style, design