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National Wool Museum
Functional object - Typewriter, Remington Typewriter Company, c.1925
This Remington No.12 typewriter is of the typebar, front-strike class. It was made by the Remington Typewriter Company of Ilion, New York, U.S.A. in about 1925. The Model No. 12 was introduced in 1922 and was one of the first 'visible writer' machines, in which the typed characters were visible to the operator. Previous models were of the upstrike class in which the characters were typed on the underside of the platen. To see what had been typed the operator had to raise the platen, meaning the typist was typing blind much of the time. This machine was used by Margaret Ganly née Burn in the 1930s. It was purchased for her by one of the sons of William Pride, a famous saddle maker in Geelong, William was Margaret’s grandfather. The typewriter was donated with original sales receipt and servicing tools. Margaret worked at Dennys for 7 years during the 1930s. The typewriter is accompanied with a story written by Margaret about her time working at the company. Margret married Jack Ganly, a fellow employee of Dennys. The Ganly name was well known within Dennys, with three generations of the Ganly family working at the company. WORKING CONDITIONS & OFFICE WORK DUTIES. Written by Margaret Burn in 2021. Worked at Dennys Lascelles in the 1930s. In the 1930s coming out of the Depression, jobs were hard to come by and had to be clung to by efficiency and subserviency. There was no union to protect workers – bosses could be tough and rough. Dennys Lascelles revolved around fortnightly wool sales in the “season” – September to May. Sale day was always a day of suppressed excitement. Preparation from a clerical point of view was complete and we now awaited the aftermath of the actual wool auction. The building teemed with people. There were country people down to see their wool sold, buyers of many nationalities, or from the big cities, who were coming in and out of the building all day. Their role was to inspect the acres of wool bales displayed on the show floors; however, caterers were present to feed clients, and there was plenty of social interactions on top of business. The office staff did not go home but waited until the first figures came back from the wool sales and the machines went in to action, both human and mechanical, preparing the invoices for the buyers’ firms. This comprised of lists of lot numbers, weights, prices per lb., and the total prices paid. A lot of this was done by old-school typewriters, making this work a big, heavy, tiring job. Before the finished lists could be dispatched, they were collated on an “abstract”. The lists had to balance with the catalogue from which the invoices had been prepared. This never happened automatically. All the paperwork had to be split up amongst pairs of workers and checked until discrepancies were found. This would happen until midnight but occasionally went until 2 or 3 am. Once complete, the invoices could then be rushed off to the buyers’ firms usually in Melbourne, and hire cars took the staff home. It was back on the job the next morning, usually around 8.30. The office hours varied according to the size of the sale and work involved. Some days started as early as 8 and could finish around 5.30. The second phase of work began with the account sales to be prepared for the sellers of the wool. These detailed all the weights, descriptions of wool, brands, and prices. One Sales account could have multitudes of lot numbers, all needing to be individually described. Various charges needed to be deducted such as finance for woolpacks, extra stock, or farmers who were given a loan to live on during the season. Details of how payment was to be made was also noted, whether the seller was to be paid by cheque, to a bank, or credited to their account with the company (which often left the seller still in debt). For a couple of months in the winter, things were quieter when staff took holidays and were sometimes given afternoons off. But there were still weekly skin sales and stock sales around the state. The annual end of June figures to be prepared for a big company like Dennys with branches all around the state also kept the staff busy. In good years there was sometimes a bonus. On sale days there was a bar open for the clients and wool buyers. This added to the excitement for the young girls, who were strictly barred from using it, but somehow managed to sneak a gin and tonic. This is how I had my first ever, before the evening meal. There was also the romantic notion in some minds, with all the influx of males, that some of us might end up on a wealthy station, or be noticed by an exotic buyer. To my knowledge, this never happened at Dennys Lascelles Limited. Group staff photo at Dennys Lascelles Limited. Margaret Burn. Age 18 or 19. Jack Ganly (Margaret’s future husband). 22.The typewriter has a black painted metal frame. The top section of the typewriter consists of a cylindrical platen on a carriage featuring plated metal fittings. A curved folding paper guide sits behind the platen and moves on the horizontal axis when the user types on the keyboard. A horizontal semicircular type basket with typebar links the top section to the lower keyboard. The ink ribbon is carried between two spools on a horizontal axis, one on each side of the type-basket. At the rear, a paper tray features gold lettering which reads ‘Remington’. At the front, a four-row QWERTY keyboard is found with 42-character keys total. 'SHIFT LOCK' and 'SHIFT KEY' are to the left of the keyboard, 'BACK SPACER' and 'SHIFT KEY' to the right. All keys are circular, white with black lettering. At the top of the keyboard are five circular red keys with the numbers 1-5 displayed behind their respective keys. A Spacebar is found along the front of the keyboard. The typewriter is accompanied by a cardboard box. This box contains the original sales receipt, on blue paper with grey lead handwriting. It also contains spare parts, a spare ribbon stretched between two spools, and cleaning tools such as brushes of differing sizes. Serial Number. Engraved. "LX45395" Gold lettering. Paper tray. “Remington” Gold Lettering. Behind keyboard. “Made in Ilion, New York, U.S.A. Gold Lettering. Mirrored both sides of type-basket. “12”remington, dennys lascelles ltd, worker conditions 1930s -
National Wool Museum
Book, Wool Classing Exercise Book, 1960-62
The National Wool Museum accepted a donation from Brian Licence in 2022 of several mementoes relating to his career in the wool industry. This Wool Classing Exercise Book was written by Brian in his time at the Gordon Technical College from 1960-62. Brian studied Wool Classing and worked for a decade in this profession before moving to Melbourne which required him to change careers.This Wool Classing Exercise book begins with a grey cover and a blue and silver metal binder. It has the number “240” handwritten in white pencil at the centre of the cover and “Brian Licence Animal Husbandry” written in blue ink on the top right corner. Internally, the book is handwritten with occasional hand drawn images. This work is completed on yellowed pages with faint blue lines, for assistance in clarity of handwriting. The pages are surrounded by a margin of red pen. The exercise book’s content is about basic animal husbandry for sheep that a Wool Classer may need to know while in a shearing shed. It is handwritten. A selection of pages have been photographed to give an impression of the information taught in classes 60 years ago. This includes information about: - Dentistry - Skeletal - Blood Circulation - Breathing - Internal parasites The book has 50 completed pages of handwriting on both front and back. Handwritten, white pencil. Centre of cover. “240” Handwritten, blue ink. Top right corner of cover. “Brian Licence. / Animal Husbandry” gordon institute geelong, 1960s sheep farming, wool classing, sheep dentistry, sheep skeletal, sheep blood circulation, sheep breathing, sheep internal parasites -
National Wool Museum
Booklet - Member's Ticket, 1962-1972
The National Wool Museum accepted a donation from Brian Licence in 2022 of several mementoes relating to his career in the wool industry. Brian studied Wool Classing and worked for a decade in this profession before moving to Melbourne which required him to change careers. These Member’s Tickets served as proof of Brian’s membership to the Woolclassers’ Association of Australia from 1962 to 1972. The Woolclassers' Association of Australia was a trade union representing Woolclassers in Australia. It amalgamated with the Australian Workers Union in 2009. The Association had 1200 members in 1997. 11 individual-coloured booklets, 10 original and 1 duplicate. The duplicate is from the year 1965/1966 when Brian Licence transferred from being a probationary member of the Woolclassers’ Association of Australia to a full member and hence received a new ticket which reflected this change. Internally, there is no difference in any of the booklets over the 10 years. Externally, there is only a slight change, with the Woolclassers’ Association of Australia's logo being included from 1965/1966 onwards. The booklets are a single piece of card folded at the middle to make 4 pages. The first page gives the name of the association, the year of issue, and in later years the Association's logo. Internally, the booklet provides the location of the Association, the name, address, and signature of who the booklet certifies, and details about the member’s rank, an Overseer, Expert, Full, or Probationary Member. The date and signature of the Secretary of the Association conclude the internal pages. On the rear page, the Head Offices of the Woolclassers’ Association of Australia branches in NSW, Victoria & Tasmania, South Australia, Western Australia, and Queensland are provided. Booklet one is on yellow card with black text and is for the years 1962/1963 Booklet two is on aqua card with black text and is for the years 1963/1964 Booklet three is on blue card with black text and is for the years 1964/1965 Booklet four is on orange card with black text and is for the years 1965/1966 Booklet five is on orange card with black text and is for the years 1966/1967 Booklet six is on red card with black text and is for the years 1967/1968 Booklet seven is on white card with green text and is for the years 1968/1969 Booklet eight is on turquoise card with black text and is for the years 1969/1970 Booklet nine is on cream card with black text and is for the years 1970/1971 Booklet ten is on a lavender card with blue text and is for the years 1971/1972 Booklet eleven is on peach card with black text and is for the years 1972/1973 Multiple. See multimediawool classing, brian licence, woolclassers’ association of australia -
National Wool Museum
Book - Onkaparinga, Onkaparinga Woollen Mill Company, 1992
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. Paperback book, white with title - 'Onkaparinga' in red writing on front coverOnkaparinga - The Story of a Mill/Carol Brockhoffblanket, blanket fever, onkaparinga, woollen mill, lobethal -
Inglewood & District Historical Society
Work on paper - Examination Certificate, The Pharmacy Board of Victoria Examination Certificate, 08/02/1922
Arthur James Jones came to Inglewood in 1924 and commenced business as a chemist. He continued in this capacity until his retirement in June 1986 - retiring to live in his home at Verdon Street, Inglewood. During his time in Inglewood Arthur Jones held many positions in community life.Certificate of Practice allowing Arthur Jones to practice as a Chemist.Examnation Certificate on blue mount board mounted in dark stained wooden frame. White paper Certificate, black ink, with a red SealThe Pharmacy Board of Victoria do hereby Certify that Arthur James Jones of 6 Connor Street, East Geelong, has passed the final examination in Materia, Medica, Botany, Chemistry, and Practical Pharmacy and is a duly qualified Pharmaceutical Chemist under the Provisions of the Medical Act 1915 Part 3 arthur jones chemist inglewood -
Chiltern Athenaeum Trust
Photograph - Reproduction
... eucalyptus leaves from the White and Red Box trees that grew around... on large round eucalyptus leaves from the White and Red Box trees ...These copies of five oil on gum leaf paintings by Alfred William Eustace (1820-1907) display the subjects and detail of his small gum leaf paintings. A.W. Eustace, a well-known Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush and painted on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. He became known as the "Bush Artist." About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skillful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.Alfred William Eustace was a well-known self-taught Australian artist who was known worldwide for her unique oil on gum leaf paintings. He was also a prominent Chiltern citizen.Copies of five A.W.Eustace oil paintings on gum leaf, under glass, displayed on blue paper in a black metal frame.alfred eustace, gum leaf painting, chiltern -
Nillumbik Shire Council
Mixed Media (textiles): Rosalie COGAN (b.1948 Vaght, Netherlands), Rosalie Cogan, War and Peace, 1987
Cogan is a textile artist and her work is political in nature. 'War and Peace' is about the Vietnam War and a statement about patriotism in war, of lessons not learnt, of remembrance and never forgetting. This work is an expression of her feelings towards this time and of her husband's experience who fought in this war. The Republic of Vietnam 'Vietnam Campaign Medal' is from the former country of South Vietnam (Republic of Vietnam). Established in 1966, it was awarded to members of United States, Australian, and New Zealand military forces serving six months or more in support of Republic of Vietnam military operations. The medal is issued with a device known as the 1960 Bar. The bar displays the date of 1960 followed by a dash and a blank space. The unusual appearance was caused by the government of the Republic of Vietnam stating that the 1960 bar would show the dates of the Vietnam War from start to finish, with the ending date placed on the 1960 bar after the South Vietnamese had triumphed over North Vietnam (the Democratic Republic of Vietnam). Since South Vietnam fell, and the government ceased to exist, an ending date for the 1960 Bar was never established. The Vietnam Campaign Medal is considered a foreign award by the U.S., Australian, and New Zealand governments. The joint Australian and New Zealand campaign medal awarded for service in the Vietnam War is the 'Vietnam Medal'. The obverse of this medal shows the crowned head of Queen Elizabeth II, with titles, while the reverse has the inscription VIETNAM above a symbolic representation of the ideological war in Vietnam. The RSL poppy (the Flanders poppy) has long been a part of Remembrance Day, the ritual that marks the Armistice of 11 November 1918, and is also increasingly being used as part of Anzac Day observances. During the First World War, red poppies were among the first plants to spring up in the devastated battlefields of northern France and Belgium. In soldiers' folklore, the vivid red of the poppy came from the blood of their comrades soaking the ground. The poppy soon became widely accepted throughout the allied nations as the flower of remembrance to be worn on Armistice Day. Today the RSL continues to sell poppies for Remembrance Day to raise funds for its welfare work. "War and Peace' is significant as it explores and highlights a period in history (the Vietnam War), which was contentious both socially and politically. Cogan and her family lived locally, in the Shire of Eltham during this time, and her work is a reflection of the experiences and sentiments of a section of the Nillumbik community. Textile piece. 'War": Cast muslin, machine embroidery onto white calico. Tanin dye, poly thread, side bust view (hand, shoulder and arm). Black machine stiching on shirt and shirt pocket with two vietnam medals. A replica of the 'Vietnam Medal' in muslin is shown reverse and has the inscription VIETNAM above a symbolic representation of the ideological war in Vietnam, which is of a male figure standing between two spherical shapes. The ribbon has a vertical central section of bright yellow which has centrally superimposed on it three thin stripes of red, (representing the South Vietnamese flag) flanked by two stripes of red (representing the Army). On the left is a dark blue stripe representing the Navy and on the right, a light blue stripe representing the Air Force. A replica in muslin of the second medal is the Republic of Vietnam 'Vietnam Campaign Medal' of the former country of South Vietnam. The ribbon has green and white strips with a device bearing the inscription ‘1960 – ‘. The medal is traditionally a gold and white enamelled star with a green, red and gold centre motif. Right hand is touching the medals/heart, while left arm is left resting to the left side over a crutch which ends in a rolled up bandage. 'Peace': Cast muslin, machine embroidery onto calico. Black dye, poly thread and RSL poppy. Side bust view (hand, shoulder and arm). Yellow machine stiching on black shirt and shirt pocket with RSL red poppy on shirt pocket. Right hand is reaching to touch the poppy, while left arm is slightly bent resting on its' left side. Nonetextile, muslin, embroidery, vietnam war, medals, vietnam medal, vietnam campaign medal, rsl poppy, war, peace, armistice, remembrance day, anzac -
Nillumbik Shire Council
Painting: Rick AMOR (b.1948, Melb. AUS), Rick Amor, Out to Sea, 1993
Rick Amor was a good friend of three times Archibald Prize winner Clifton Pugh, living and working at Pugh's artist colony Dunmoochin, (Cottles Bridge) during the 1980-1990s. Amor made frequent outdoor painting trips with Pugh. His studies of Williamstown and areas around the port fuelled a period of sustained painting in his studio at Dunmoochin. Amor is an artist of national significance who had lived locally in Dunmoochin (Cottles Bridge) during the time of this work's making. This painting was exhibited/entered into the 1993 Shire of Eltham Art Awards. The work is representative of Amor's style and interest in seascapes as subject matter. Oil on linen, seascape painting. A solitary and motionless male figure in an overcoat stands at the edge of a dock/jetty with his hands in his pockets looking out to sea with his back towards the viewer. A motorised boat is moored close by and a white house with a blue roof can be seen in the distance. The figure is engulfed by the landscape and a resounding sense of desolation. A storm is brewing; the mood forecast by dark, heavy and thick ominous clouds, alternately darkening with the approach of night, a polluted haze and rough seas. In red paint, lower right, signed 'RICK AMOR '93'amor, seascape, painting, personal, boat, dramatic, atmospheric, ekphrasis 2015, dunmoochin -
Beechworth Honey Archive
Map- Chiltern/Barnawartha
(4x) Map centred on Chiltern and Barnawartha. Shows Murray River, Hume Highway, Chiltern- Barnawartha Rd and Chiltern- Rutherglen Rd. Scale 1:50,000. Paper is white on back, yellow on front.Map labelled 'Albury series R652' Some markings in red and blue on some maps- blue writes '74-75'map, chiltern, barnawartha, paper, beechworth honey -
Tatura Irrigation & Wartime Camps Museum
Book, Erinnerungen. Lebensgeschichten von Opfern des Nationalsozialismus (Lives Remembered. Life Stories f Vicctims of National Socialism)
Volume 5 of a series of books written by the National Fund of the Republic of Austria for Victims of National Socialism. This volume tells the stories of victims exiled in Australia.3 books contained in a cardboard box. Box has black and white picture of Sydney Harbour Bridge and a ship on front with title (Erinnerungen) in red print and rest of title in black print. Bottom right corner has Band 5: exil in Australien in white print. Title on side in red and black. Back has map of Australia and Asia with countries in blue and ocean in white. Book 1 has same picture on it. Book 2 has a picture of man in army uniform. Book 3 has a picture of a woman and a billy can. Book is written in German and English.national fund of the republic of austria for victims of national socialism, internment camps in australia, internees in australia -
Tatura Irrigation & Wartime Camps Museum
Clothing - Fireman's Dress Jacket
Uniform worn by A. Perry, who was a Fireman in Tatura from 1959 to 1967 ( 8 years )Navy blue Pure wool, double breasted, 7 brass buttons, ( 2 on lapels ), brass hook each side at waistline for belt. Red patch at top of each arm embroidered with Tatura Urban Fire Brigade. White label inside with David Lock P/L Melbourne., NAME A. Perry, 8 739. Shoulders lined with navy cotton fabric. Buttons are brass with Country Fire Authority Victoria , Shield and Helmet embossed on them. One button is missing -
Tatura Irrigation & Wartime Camps Museum
Banner, Afrika Korps Banner, 1941
Captain Robert Ure Bain was Adjutant to Lt. Col. Bush, POW Group Commandant from 1942 - 1947. He was chosen to be one of the Australian Army officers who escorted the German POW's back to Germany in January 1947. A German POW and former member of the Afrika Korps made the item and donated it to Robert.Afrika Korps banners, embroidered, one piece of material. Large hemmed square of white/ cream cotton material embroidered with two unfinished Afrika Korps banners. Line drawn around both, to indicate edge/cutting point/unfinished embroidery point. The photograph show banner 1 which has a palm tree & swastika (emblem of the Afrika Korps). Swastika has been left outlined in pencil but not embroidered, probably so as not to create trouble by displaying the now banned swastika: Banner 2 has red stylised German eagle over the number 8. Also in picture is a model of an aeroplane and a framed coat of arms with Braunschweig (a place in north west Germany otherwise known as Brunswick).Banner 1: Afrika Korps (pink lettering); 1941 (light blue lettering). Banner 2: Zullighau (brown/gold lettering); 4. KOMP / M. G. BATL. (green lettering). (Number 4 company of the Machine Gun Battalion); framed coat of arms "Braunschweig"afrika korps, internment camps, camp 13, garrison, military, handcrafts, embroidery, captain robert bain, german pow's -
Tatura Irrigation & Wartime Camps Museum
Book, My War - More than 150 epic events of WW2, 1990
Cover features navy, red and pale blue stripes with main area white with soldier in uniform. Each page features front pages from the sun during wartime. Telling main stories of the war.. "The Sun" -
Tatura Irrigation & Wartime Camps Museum
Leisure object - Dolls Furniture, 1940's
Made in Camp 3 by Mr. Alfons Koenig. Little presents such as these were made by POW's and supplied through the Red Cross presumably.9 parts of handmade furniture, handpainted, mainly floral designs in colours - red, blue, yellow, green and white. All parts fit together into a small packagefurniture, dolls, koenig a, uhlherr h, red cross, camp 3, tatura, ww2 camp 3, toys, doll -
Maldon Vintage Machinery Museum Inc
Pump - Centrifugal
... of cut away in red. Blue and white circular paper sticker on top ...Single stage end suction pump with part of casing cut away to reveal interior. Painted yellow with edges of cut away in red.Blue and white circular paper sticker on top with "Thompsons Kelly & Lewis Pumps made in Australia". Stylised bird in centre of sticker. On end of housing in relief "65x40-250 / 1.0108" (pump size & casing pattern No).machinery; pump; centrifugal; metalwork -
Maldon Vintage Machinery Museum Inc
Pump - Centrifugal
Single stage end suction pump with part of casing cut away to reveal interior. Exterior painted grey, interior blue with edges of cut away in red. Bolted to a metal edged, white painted wooden base. Suction branch 100mm, discharge branch 65mm, impeller diameter 250mm. "Titan" in relief on side.machinery; pump; centrifugal; metalwork -
Maldon Vintage Machinery Museum Inc
Wool Winder, C 1970's
.1&2) Red & cream plastic wool winder with grey wool holders & chromed metal thread guide. .3) White cardboard box with image on lid. .4) Instruction sheet.On box lid printed in red - Wool Winder. On silver stickers on winder printed in blue a logo and "Royal Made in Japan"handcrafts spinning wool winding -
Maldon Vintage Machinery Museum Inc
One Ton Truck
... cylinder engine. Blue body with white engine housing, red engine.... In-line four cylinder engine. Blue body with white engine housing ...Used in annual Maldon Easter parade.Graham Brothers flat bed one ton truck. In-line four cylinder engine. Blue body with white engine housing, red engine block, cream wheel trim and upholstery maroon chasis. Natural timber seat frame, tray and running boards. Chrome radiator housing and headlights. Retrofitted electric turning indicators.Etched plate on dashboard "1 Ton CAUTION Truck / Over-loading or over-speeding / will void your warranty / Speed 25 miles per hour / Maximum allowable load capacity 2000 lbs / Allowable for weight of body 1000 lbs / Total weight of chassis body -------- / and load not to exceed 5515 lbs / deduct excess body weight from rated load / Graham Brothers Detroit. U. S. A. / A division of Dodge Brothers Inc." On cast wheel hub nuts "GB" -
Maldon Vintage Machinery Museum Inc
Clock
Battery operated clock with a highly lacquered face with an image of half of a split casing pump casing. The image is in blue and black on a white ground centred on a circular wooden clock face. Numbers are imitation chrome plastic covered with lacquer. The second hand is red. The backing board is rectangular. The operating mechanism is centred in a housing on the back.Maker's name ("Chris Shaw") on a gold sticker at the bottom centre of the back.horology -
Victorian Aboriginal Corporation for Languages
Book, Bill Jonas et al, The little red, yellow &? black (and green and blue and white) book : a short guide to Indigenous Australia, 1994
A short guide to the history, lives and culture of the First Australians, the Aboriginal and Torres Strait Islander peoples.b&w photographs, colour photographsmoieties, reconciliation, land rights, mabo -
Clunes Museum
Memorabilia - PHONOGRAPH RECORDS
... Stamp, white with red printing J. Albert & Son Royalty 1 3/8d .5... with red printing J. Albert & Son Royalty 1 3/8d .5 White stamp ...Impressed black cardboard covered album with leather spine gold embossed writing on cover. Red sticker inside of cover, Ex Libris, Max Erkhardt with a drawing of food and wine .2 small sticker with blue X .4 Copyright Stamp, white with red printing J. Albert & Son Royalty 1 3/8d .5 White stamp, Keith Prowse & Co. Ltd Londonmusic, musical recording, phonograph -
Wangaratta Art Gallery
Textile, John Parkes, Conflagration, 2017
... wool cloth that features rows of white running stitches and red... that features a white apron that has red running stitch squares, holes ...John Parkes avoids technology. This work expects the viewer to understand the importance of the hand and time… The blanket and the apron were gifted by friends in Germany. The apron was worn by Helen in her studio practice as a jeweller. The blanket was a find in the cellar of their Munich apartment. The red moleskin cloth was an OP shop find and originally a eucalyptic green. This cloth was discharged and overdyed. Cloth will often sit around the house, unattended, until ideas germinate. Is “Art” about “Art” or about the “Artist”?... There is a Buddhist notion of not writing in the first person, in that the Ego is not employed. There is a Japanese tradition “Boro” in which cloth is not discarded but repaired. These three cloths are now one.Wangaratta Art Gallery Collection - Winner WCTA 2017A square handsewn textile that features a white apron that has red running stitch squares, holes, hand paint stains across with initials in blue thread sewn in the bottom right corner of the apron which is in the center of the work. A brown wool cloth that features rows of white running stitches and red embroidery patches borders the apron, which is bordered by strips of red patterned fabric that has been dyed and features lines of red running stitches.wangaratta art gallery, textile, wcta, john parkes -
Wangaratta Art Gallery
Painting, R. Spinner, The Pied Piper, c. 1968
Rural City of Wangaratta CollectionA still life painting of a band uniform alongside a trumpet and music stand, painted using red, blue, silver, gold, yellow, black, and white.Obverse: R SPINNER/ (bottom right corner)wangaratta art gallery, r spinner, band, still life, painting -
National Wool Museum
Carpet Samples, Godfrey Hirst and CO. Pty Ltd, c.1990
Carpet samples created by Godfrey Hirst, a carpet mill whose history spans back to 1865 when the Victorian Woollen and Cloth Manufacturing Company began operations in Geelong and was purchased in the 1890s by the man Godfrey Hirst. Godfrey Hirst’s entrepreneurial skills and knowledge of the industry led to the great success which saw the company expand in multiple forms over the next century and a half. Today, thousands of metres of carpet are produced by Godfrey Hirst every day, and their flooring can be found in millions of homes. These 6 carpet samples date from the early 1990s and each have a unique colour pattern and design.Each carpet sample is made with a pile fibre that is 100% wool. The primary backing of the carpet is a woven polypropylene with a secondary backing a woven jute. Carpet 8102.1's colour name is Slate. It has a dark grey background with a red and blue diagonal stripe. The pattern repeats in a 10cm x 11.5cm block. Carpet 8102.2’s colour name is Terracotta. It is a mostly block pink colour with no repeating pattern. It has occasional flicks of grey. Carpet 8102.3’s colour name is Arctic Night. It has white, light blue and grey colours repeating one after another in a diagonal line. Carpet 8102.4’s colour name is Ivory. It has a brown background with a cream colour diamond. The pattern repeats in a 15cm x 15cm block. Carpet 8102.5’s colour name is Glenwood. It has a thin darker green and lighter green horizontal stripe spanning its entire width. These stripes repeat the height of the carpet. Carpet 8105.6’s colour name is also Ivory. It has a brown background with a cream colour leaf pattern. The pattern repeats in a 92cm x 92cm block.Wording on rear: Numerous. See Media.godfrey hirst, carpet, textile manufacture -
National Wool Museum
Book - Fabric Sample Book, c.1920
A Textile Designer’s Fabric Sample Book is an important tool for keeping a record of past designs. This is useful in order to showcase a designer’s previous work; functioning like a portfolio or a résumé. They also serve as a source of inspiration, sometimes even providing a template to re-release iconic designs. The National Wool Museum has a large collection of Fabric Sample Books. They reveal the colour and daring designs produced by textile mills across various time periods. This Fabric Sample Book is from the 1920s and gives us insights into design trends that are now over a century old.The cover of this book has a brown/grey marble. It carries many marks and oils from the hands, after more than a century of use. A strip of red tape has been added to the spine of the book in order to give it integrity. The book internally has white pages that have turned a brown/cream with age. These pages have a faint blue line printed horizontally across them, to assist with handwriting. The contents of the pages are fabric samples which have been staple to them, as well as handwriting with a blue ink. The pages also include technical drawings, relating to the fabric samples and how such samples were woven together.textile design, textile manufacture -
National Wool Museum
Book - Wool Classing Exercise Book, 1936-38
The story of 90 years of wool classing between father & son begins in 1936, when a young boy by the name of Stanley James Hucker walked through the doors of the Gordon Technical School in Geelong. Born in 1921, Stanley was 15 years of age when he began his 3-year course in Wool Classing. 30 years later, Stanley’s second son Denis completed the same 3-year wool classing course. Beginning in 1966, Denis attended the same Gordon Technical School and walked the same halls as his father before him. Stanley finished his course in 1938. He went back to the family farm in Lake Bolac for a brief period before enrolling in the Second World War. At the completion of the war, Stanley returned home and married before gaining a soldier settler allotment, north of Willaura. This enabled Stan to use his wool classing knowledge. He ran between 1,500 and 2,000 sheep for many years, while his wool classer stencil also allowed him to go out and class at various sheds around the area. He held his stencil from 1938 until he retired at the age of 60 in 1981. On retirement, his second son Denis was working in the district, managing a local property while also leasing land himself. Upon his father’s retirement, Denis had the opportunity to lease his father’s farm, an opportunity he could not refuse. Denis had finished his wool classing course at the Gordon Technical School in 1968, graduating dux of his class. He began working with a local contractor and started classing wool in his team. Denis gained a great deal of experience working as part of this team in big sheds of up to 8 stands servicing between 10 & 20,000 sheep. It was not all smooth sailing for Denis however, and he soon learnt an important lesson. Class wool the way you’re taught, don’t listen to the owner standing over your shoulder. At a clip of Corriedales near Casterton, Denis was pushing too many fleeces into the line of fine wool. This resulted in a notice from the Australian Wool Exchange (AWEX) “mixing counts too much, submit three clips for inspection”. Denis was able to submit 3 clips with no further complaints, however, this proved a valuable lesson he would never forget over his long career classing wool. In the early 1980s, when Denis was leasing two properties including his father’s, things were going well until drought struck. February 1983 was the date of the Ash Wednesday bushfires, and saw Melbourne have three days over 40 °C for only the second time on record. This period saw Denis give away farming, turning towards contracting work instead. After the difficult times of the early 1980s, the next two decades were a good time for the sheep industry. 15 micron wool was selling for prices between 4 to 5,000 cents per kilo, double what you’d expect for the same wool in 2022. In 1995 a single bale of wool sold for a million dollars. This was a good time for Denis too. His contracting work saw him employing local shearers and shed staff. His team was involved with the shearing and classing of more than 130,000 sheep. After 20 years of contracting, it was time for Denis to transition into the next phase of his life. He gave up independent contracting, preferring instead to return to being a member of someone else’s team. In 2018, having completed 50 years of wool classing, it was time to call it a day and retire completely. At the annual Gordon Wool School Old Students Association dinner held in 2018, Denis was presented with his 50 years as a registered wool classer stencil awarded by the Australian Wool Exchange (AWEX). This is a rare honour achieved by few. As of February 2020, a total of 430 wool classers had achieved this 50-year milestone. For Denis however, his proudest achievement is achieving 90 years of wool classing with his father. The National Wool Museum is proud to share the collection of objects gained from 90 years in the wool classing industry by Stanley and Denis. This ranges from Stanley’s first stencil and Wool Sample book, started when he first attended the Gordon in 1936. The collection concludes 90 years later with Denis’ 50 years of wool classing Stencil. The collection contains many more objects, all telling the story of these 90 years, and the hard work invested by this dedicated father and son duo. This is the third in a series of 5 wool classing exercise books. They were written by Stanley Hucker in his time at the Gordon Technical College from 1936-1938. This book begins in a white cover with black ink illustrations and writing. These illustrations have been added to with Pink ink. Internally, the book is handwritten on yellowed pages with blue lines for the assistance in clarity of handwriting. The pages are also surrounded by a margin of red pen. The exercise book’s content is about veterinary studies relating to the diseases, injuries, and treatment of sheep. It is handwritten. A selection of pages have been photographed to give an impression of the information taught in classes, 90 years ago. This includes information about blow fly and bacterial diseases.Front Cover. Wording, printed and handwritten “THE / AUSTRALIAN / EXERCISE / BOOK / Veterinary / NAME Stanley J Hucker / GRADE III / School “Gordon” Geelong” Front Cover. Illustrations, printed. Kangaroo, kookaburra / Map of Australia with state names / Emu, Koalagordon institute geelong, wool classing, 1930s sheep farming, 90 years wool classing between father & son -
National Wool Museum
Book - Wool Classing Exercise Book, 1937-38
The story of 90 years of wool classing between father & son begins in 1936, when a young boy by the name of Stanley James Hucker walked through the doors of the Gordon Technical School in Geelong. Born in 1921, Stanley was 15 years of age when he began his 3-year course in Wool Classing. 30 years later, Stanley’s second son Denis completed the same 3-year wool classing course. Beginning in 1966, Denis attended the same Gordon Technical School and walked the same halls as his father before him. Stanley finished his course in 1938. He went back to the family farm in Lake Bolac for a brief period before enrolling in the Second World War. At the completion of the war, Stanley returned home and married before gaining a soldier settler allotment, north of Willaura. This enabled Stan to use his wool classing knowledge. He ran between 1,500 and 2,000 sheep for many years, while his wool classer stencil also allowed him to go out and class at various sheds around the area. He held his stencil from 1938 until he retired at the age of 60 in 1981. On retirement, his second son Denis was working in the district, managing a local property while also leasing land himself. Upon his father’s retirement, Denis had the opportunity to lease his father’s farm, an opportunity he could not refuse. Denis had finished his wool classing course at the Gordon Technical School in 1968, graduating dux of his class. He began working with a local contractor and started classing wool in his team. Denis gained a great deal of experience working as part of this team in big sheds of up to 8 stands servicing between 10 & 20,000 sheep. It was not all smooth sailing for Denis however, and he soon learnt an important lesson. Class wool the way you’re taught, don’t listen to the owner standing over your shoulder. At a clip of Corriedales near Casterton, Denis was pushing too many fleeces into the line of fine wool. This resulted in a notice from the Australian Wool Exchange (AWEX) “mixing counts too much, submit three clips for inspection”. Denis was able to submit 3 clips with no further complaints, however, this proved a valuable lesson he would never forget over his long career classing wool. In the early 1980s, when Denis was leasing two properties including his father’s, things were going well until drought struck. February 1983 was the date of the Ash Wednesday bushfires, and saw Melbourne have three days over 40 °C for only the second time on record. This period saw Denis give away farming, turning towards contracting work instead. After the difficult times of the early 1980s, the next two decades were a good time for the sheep industry. 15 micron wool was selling for prices between 4 to 5,000 cents per kilo, double what you’d expect for the same wool in 2022. In 1995 a single bale of wool sold for a million dollars. This was a good time for Denis too. His contracting work saw him employing local shearers and shed staff. His team was involved with the shearing and classing of more than 130,000 sheep. After 20 years of contracting, it was time for Denis to transition into the next phase of his life. He gave up independent contracting, preferring instead to return to being a member of someone else’s team. In 2018, having completed 50 years of wool classing, it was time to call it a day and retire completely. At the annual Gordon Wool School Old Students Association dinner held in 2018, Denis was presented with his 50 years as a registered wool classer stencil awarded by the Australian Wool Exchange (AWEX). This is a rare honour achieved by few. As of February 2020, a total of 430 wool classers had achieved this 50-year milestone. For Denis however, his proudest achievement is achieving 90 years of wool classing with his father. The National Wool Museum is proud to share the collection of objects gained from 90 years in the wool classing industry by Stanley and Denis. This ranges from Stanley’s first stencil and Wool Sample book, started when he first attended the Gordon in 1936. The collection concludes 90 years later with Denis’ 50 years of wool classing Stencil. The collection contains many more objects, all telling the story of these 90 years, and the hard work invested by this dedicated father and son duo. This is the fourth in a series of 5 wool classing exercise books. They were written by Stanley Hucker in his time at the Gordon Technical College from 1936-1938. This book begins in a white cover with blue ink illustrations and writing. It has a centrepiece-coloured emblem of King George VI & Queen Elizabeth with flags of the Union Jack & Australia in background. Internally, the book is handwritten on yellowed pages with blue lines for the assistance in clarity of handwriting. The pages are also surrounded by a margin of red pen. The exercise book’s content is about wool studies relating to the health and productivity of wool sheep. It is handwritten. A selection of pages have been photographed to give an impression of the information taught in classes, 90 years ago. This includes information about: - Wool scouring - Shearing - Lamb marking - Breeding - Fellmongering - Comparison between wool and artificial fibres - Characteristics of good wool - Wool selling methods - Established studs in Victoria - Award rates (1937-38)Front Cover. Wording, printed and handwritten. “CORONATION / EXERCISE BOOK / NAME Stanley Hucker / GRADE SUBJECT Wool / SCHOOL Gordon Front Cover. Illustration’s colour, printed. King George VI & Queen Elizabeth with flags of the Union Jack & Australia in background.gordon institute geelong, wool classing, 1930s sheep farming, 90 years wool classing between father & son -
National Wool Museum
Book - Wool Classing Exercise Book, 1936-38
The story of 90 years of wool classing between father & son begins in 1936, when a young boy by the name of Stanley James Hucker walked through the doors of the Gordon Technical School in Geelong. Born in 1921, Stanley was 15 years of age when he began his 3-year course in Wool Classing. 30 years later, Stanley’s second son Denis completed the same 3-year wool classing course. Beginning in 1966, Denis attended the same Gordon Technical School and walked the same halls as his father before him. Stanley finished his course in 1938. He went back to the family farm in Lake Bolac for a brief period before enrolling in the Second World War. At the completion of the war, Stanley returned home and married before gaining a soldier settler allotment, north of Willaura. This enabled Stan to use his wool classing knowledge. He ran between 1,500 and 2,000 sheep for many years, while his wool classer stencil also allowed him to go out and class at various sheds around the area. He held his stencil from 1938 until he retired at the age of 60 in 1981. On retirement, his second son Denis was working in the district, managing a local property while also leasing land himself. Upon his father’s retirement, Denis had the opportunity to lease his father’s farm, an opportunity he could not refuse. Denis had finished his wool classing course at the Gordon Technical School in 1968, graduating dux of his class. He began working with a local contractor and started classing wool in his team. Denis gained a great deal of experience working as part of this team in big sheds of up to 8 stands servicing between 10 & 20,000 sheep. It was not all smooth sailing for Denis however, and he soon learnt an important lesson. Class wool the way you’re taught, don’t listen to the owner standing over your shoulder. At a clip of Corriedales near Casterton, Denis was pushing too many fleeces into the line of fine wool. This resulted in a notice from the Australian Wool Exchange (AWEX) “mixing counts too much, submit three clips for inspection”. Denis was able to submit 3 clips with no further complaints, however, this proved a valuable lesson he would never forget over his long career classing wool. In the early 1980s, when Denis was leasing two properties including his father’s, things were going well until drought struck. February 1983 was the date of the Ash Wednesday bushfires, and saw Melbourne have three days over 40 °C for only the second time on record. This period saw Denis give away farming, turning towards contracting work instead. After the difficult times of the early 1980s, the next two decades were a good time for the sheep industry. 15 micron wool was selling for prices between 4 to 5,000 cents per kilo, double what you’d expect for the same wool in 2022. In 1995 a single bale of wool sold for a million dollars. This was a good time for Denis too. His contracting work saw him employing local shearers and shed staff. His team was involved with the shearing and classing of more than 130,000 sheep. After 20 years of contracting, it was time for Denis to transition into the next phase of his life. He gave up independent contracting, preferring instead to return to being a member of someone else’s team. In 2018, having completed 50 years of wool classing, it was time to call it a day and retire completely. At the annual Gordon Wool School Old Students Association dinner held in 2018, Denis was presented with his 50 years as a registered wool classer stencil awarded by the Australian Wool Exchange (AWEX). This is a rare honour achieved by few. As of February 2020, a total of 430 wool classers had achieved this 50-year milestone. For Denis however, his proudest achievement is achieving 90 years of wool classing with his father. The National Wool Museum is proud to share the collection of objects gained from 90 years in the wool classing industry by Stanley and Denis. This ranges from Stanley’s first stencil and Wool Sample book, started when he first attended the Gordon in 1936. The collection concludes 90 years later with Denis’ 50 years of wool classing Stencil. The collection contains many more objects, all telling the story of these 90 years, and the hard work invested by this dedicated father and son duo. This is the fifth in a series of 5 wool classing exercise books. They were written by Stanley Hucker in his time at the Gordon Technical College from 1936-1938. This book begins in a white cover with blue ink swirls covering its entirety. It has a central sticker label. Internally, the book is handwritten on yellowed pages with blue lines for the assistance in clarity of handwriting. The pages are also surrounded by a margin of red pen. The exercise book’s content is about recording and tracking the financial transactions of Sheep Stations and Wool Classers. It is handwritten. A selection of pages have been photographed to give an impression of the information taught in classes, 90 years ago. This includes information about: - General bookkeeping terms and definitions - Practise invoices - Larger multiple page definition of bookkeeping - Assets liabilities - Practise bale bookFront Cover. Wording, printed and handwritten. “The “Gordon Geelong / CASH BOOK / Stanley Hucker / Station + Farm / Bookkeeping / Bookkeeping / Terms 1.2.3 for 1936. 1937. 1938”gordon institute geelong, wool classing, 1930s sheep farming, 90 years wool classing between father & son -
National Wool Museum
Archive - Advertisement, Laconia Woollen Mills, 1958
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." 'Laconia Queen' in white gown, 'Australia's loveliest blankets'Australia's loveliest blankets/Laconia Pure Lamb's Wool Blankets/Make 'Goodnight' a Certainty blanket, blanket fever, wool, laconia, advertisement, australian women's weekly -
Brighton Historical Society
Skirt, 1950s
Blue cotton circular skirt with white cord design of men and women dancing around the hem. Fastens with a metal sip in left proper side seam.Label, printed red on cream cotton, centre back: Milton Harding / MELBOURNE / GUARANTEED TAILORED / & HAND FINISHED (image of skirt)skirt, 1950s, milton harding