Book of wool samples created for/used by the Gordon TAFE in Geelong. This book comes to us from the American Textile History Museum in Lowell, Massachusetts who have closed down. This item was transferred from them to the NWM.Black cardboard covered book containing pages with attached wool samples and descriptions. Each page has a waxy paper covering with it. Pages are blue with gold coloured pins/tacks at the corners.

Mady by Jean Inglis in 1986 for Geelong Show. Wool was hand spun, hand woven and hand dyed. Outfit was put together by a Geelong based dressmaker and was only worn once during the parade at the Show. Size 12. Earliest Date: 1986Cream coloured wool jacket. One button. Label attached with safety pin. Three buttons on cuff of each sleeve. White lining inside. Part of a Chanel style suit.

Green Woolheadgear, c1970, army

Trousers Wooluniform, 1950, army

Wool PutteesN179-19042 /Made in Australia/ Regimental No./Name

Wool embroidery

Sixteen page knitting pattern book featuring black and white text and images. The colour cover shows two boys wearing knitted jumpers featuring horse motifs.front: [printed] Patons / KNITTING BOOK / NO. 347 / P&B / WOOLS / "REX" - See page 6 / 1'6d.fashion, design, knitwear, home made, wool, pattern book, patons

Card used by Collins Bros Pty Ltd, established 1874.Cream card with black printed text. Printed: Factory No. / WOOL / REGISTER / Lbs. / Rates / Invoice Value / Charges / Stock Value / Invoice Date / Sale No / Broker / Brand / Lot No / Bale No / Description / Type / Date Issuedcollins bros mill pty ltd, manufacturing, geelong, wool

The P.S Australien was built in 1897 by Richard Wilson, of Moama. In 1937 the vessel was used to tow boilers, winches and derricks to the banks of the Murray River to aide in the construction of Locks 6,7,9 and Yarrawonga Weir. The barge is viewed from the rear, as the rudder can be seen, and shows the enormity of the loads of wool which a barge could carry. The two vessels are tied together and appear to be moored at a small pier.The P.S Australien is one of the oldest paddle steamers built at Echuca. It was a working vessel during the construction of the Yarrawonga weir in the 1930s which was the beginning of the irrigation system which enabled the Agriculture Industry to become such a prominent part of the Murray-Darling River Basin social history. A paddle steamer and a barge, loaded with wool, are seen docked together on a river. There is a small wooden jetty leading to the bank where gum trees are growing.p.s australien, yarrawonga weir, echuca paddlesteamers, murray river paddle steamers, wilson, richard, wool industry

Presented to Jean Inglis as a prize for winning the textile competition at the 1988 Royal Melbourne Sheep Show. Her entry was a hand spun, woven and dyed wool suit for the Fashions for the Eighties parade competition. Earliest Date: 1988Dark blue felted wool sash with yellow text attached. Test reads "THE AUSTRALIAN SHEEP BREEDERS ASSOCIATION INC. / 1988 WEEKLY TIMES MELBOURNE SHEEP & WOOLCRAFT SHOW / WOOLCRAFT COMPETITION"

Typical US Army cold weather cap used in Korean War and post-Korea eraRepresentative US Army cap. This type of clothing was issued to Australian troops during the Korean War Olive Drab cotton and wool peaked Field Cap with imitation alpaca fold-down ear comforters, ends secured by cord. Cotton identification label sewn to liner. Wear instructions cotton label sewn to liner. CAP, FIELD, PILE, O.D., MQ-1 Size 7 ATLANTIC HIGHLANDS MFG. CO. Dated 13 Jan. 1951 Q.M. 9532-OI-10070 Pur.Desc. 1 Nov. 1950 Stock No. 73-C-16376-45 NYQMPA ALPACA 60% WOOL, 40% COTTON LINING 80% WOOL, 20% COTTON plus - wearing instructions "CAP, FIELD,PILE,OD, M-Q1" (sic)

About the 1992 Barcelona Olympic Games donator Doug Pleasance wrote- During the 1980s the Australian wool industry was at its most prosperous times with record numbers of sheep producing wool receiving ever increasing values due to the success of the Reserve Price Scheme, and the overall guidance of the Australian Wool Corporation (AWC). As a humble technichian, my role was a low profile newly created position of “Controller, Technical Marketing” where wool was to be marketed on its technical properties, as distinct from the “Product Marketing Group” which exploited trhe traditional high profile approach of marketing wool;s superior fashion attributes. The Woolmark was the tool central to this approach. The 1992 Barcelona Olympic Games saw an evolutionary change in designer selection. A Declaration of Interest Form was communicated to over forty potential designers. The task and especially tight timelines that were involved deterred many aspirants, however, there remained eight designers with the potential we were seeking. These eight designers were paid $3,000 per submission and the winning designer, Wendy Powitt, was paid $15,000. For the first time the judging panel included two athletes, one male swimmer and one female basketballer, their influence was pivotal. The ensemble consisted of three elements- 1. The Official Uniform which was used for travel and all official functions. This included: a tailored blazer and trouser/skirt (all water repellent) by Fletcher Jones, pure wool olive-green faille fabric by Foster Valley, cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, printed wool tie by TD Noone, wool nylon socks by Holeproof and footwear by Hush Puppy. 2. Opening Ceremony Uniform a lightweight wool fabric printed with floral designs that had been inspired by the work of Australian artist Margaret Preston. This included: Lightweight W/PE shorts by Fletcher Jones in Foster Valley Fabric, socks by Holeproof and footwear by Hush Puppy. 3. Village Clothing was designed to be highly visible garments to make it easy to ‘spot the Aussie’ and helped to contribute to good team spirit. This included: A pure wool shirt featuring blocks of contrasting colours, and a newly developed stretch 50:50 wool/cotton fabric by Bradmill was made into shorts and jeans by Fletcher Jones.Cream full length trousersolympics, 1992 barcelona olympics, olympic uniforms, trousers, wool, wendy powitt

About the 1992 Barcelona Olympic Games donator Doug Pleasance wrote- During the 1980s the Australian wool industry was at its most prosperous times with record numbers of sheep producing wool receiving ever increasing values due to the success of the Reserve Price Scheme, and the overall guidance of the Australian Wool Corporation (AWC). As a humble technichian, my role was a low profile newly created position of “Controller, Technical Marketing” where wool was to be marketed on its technical properties, as distinct from the “Product Marketing Group” which exploited trhe traditional high profile approach of marketing wool;s superior fashion attributes. The Woolmark was the tool central to this approach. The 1992 Barcelona Olympic Games saw an evolutionary change in designer selection. A Declaration of Interest Form was communicated to over forty potential designers. The task and especially tight timelines that were involved deterred many aspirants, however, there remained eight designers with the potential we were seeking. These eight designers were paid $3,000 per submission and the winning designer, Wendy Powitt, was paid $15,000. For the first time the judging panel included two athletes, one male swimmer and one female basketballer, their influence was pivotal. The ensemble consisted of three elements- 1. The Official Uniform which was used for travel and all official functions. This included: a tailored blazer and trouser/skirt (all water repellent) by Fletcher Jones, pure wool olive-green faille fabric by Foster Valley, cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, printed wool tie by TD Noone, wool nylon socks by Holeproof and footwear by Hush Puppy. 2. Opening Ceremony Uniform a lightweight wool fabric printed with floral designs that had been inspired by the work of Australian artist Margaret Preston. This included: Lightweight W/PE shorts by Fletcher Jones in Foster Valley Fabric, socks by Holeproof and footwear by Hush Puppy. 3. Village Clothing was designed to be highly visible garments to make it easy to ‘spot the Aussie’ and helped to contribute to good team spirit. This included: A pure wool shirt featuring blocks of contrasting colours, and a newly developed stretch 50:50 wool/cotton fabric by Bradmill was made into shorts and jeans by Fletcher Jones.Olive green culotte shortsolympics, 1992 barcelona olympics, olympic uniforms, wool, wendy powitt, culottes

Ribbon awarded to Mr Charles Wilson Peel of 'Callenondah' at Gnawarre. Mr Peel ran a superfine merino stud. This ribbon is from the Geelong Agricultural & Pastoral Society Show in 1960 and was awarded Champion for Sample of Merino Lambs Wool.Red, white and blue wool ribbon with yellow tassels on short ends. Yellow stitched/stamped text. Text divided over the three coloured panels which are stitched together with a white thread.

Ribbon awarded to Mr Charles Wilson Peel of 'Callenondah' at Gnawarre. Mr Peel ran a superfine merino stud. This ribbon is from the Geelong Agricultural & Pastoral Society 1959 Show and was awarded Champion for Sample of Merino Lambs Wool. Red, white and blue wool ribbon with yellow tassels on short ends. Yellow stitched/stamped text. Text is divided across the three coloured panels which are stitched together with white thread.

The Axminster Carpet Loom has been set up as a focal point in the centre of the National Wool Museum. The loom was originally built by Brintons in England around 1910 and was initially operating in Geelong in 1960. Brintons designed and built most of their own looms and ancillary equipment. When superseded in 1975 the loom was donated to the Melbourne College of Textiles for weaving training. The College has now donated the loom to the National Wool Museum and Brintons engineering staff has restored it to full working condition. This loom is known as an Axminster gripper loom. The gripper system was invented by Brintons in 1890 and operates using a gripper shaped like a birds beak. This grips the yarn, the yarn is then cut and the gripper swings down to place the tuft into the woven backing. This particular loom also uses a jacquard system for weaving colours. In jacquard weaving, punched cards are used to instruct the loom as to which colour to use. The system was invented by Joseph Jacquard, a silk weaver from Lyon, and was introduced in 1804. It revolutionised pattern weaving as it had the capacity to create intricate patterns through the use of the cards. By 1833 there were approximately 100,000 power-looms used in Great Britain that had been influenced by Jacquards invention. Joseph Jacquard died in 1834. Charles Babbage was later to adapt Jacquards punch-card system to produce a calculator that was the forerunner of todays methods of computer programmingAxminster carpet loom featuring over 1000 Jacquard punch cards and over 100 bobbins of different colours of wool.loom carpet wool, geelong woolbrokers' association, geelong, auction

Designed to be used with a Sun Sculpture viewfinder.A collection containing 3 stereoscopes from the Underwood and Underwood brothers Ottawa, Kansas. depciting images of Australian sheep stations and the Dalgetty's wool sales floor. Copyrighted in 1908 by Underwood and Underwood. Each item consists of two identical photographs, side by side on a grey backing card with rounded edges.Wording: Underwood & Underwood, publishers. / Ney York, London, Torronto - Canada, Ottawa - Kansas.;Method: Printed;Location: Left Hand side of card perpendicular to the image. Wording: Works and Studios ~ / Arlington, N.J. Westwood, N.J.;Method: Printed;Location: Right Hand Side of card perpendicular to the photograph Wording: Sun Scultpure /Trade Mark. ;Method: Printed;Location: Right hand side of card. Wording: (27) - 10255 - Dalgetty's Sales Rooms where wool-buyers came from all parts of / the world - Australia. Copyright 1908 by Underwood & Underwood. U-113253.;Method: Printed;Location: Bottom of card. Wording: (57) - 10285 - Drink for 5000 thirsty sheep on a big ranch at Warrah, Australia. / Copyright 1908 by Underwood & Underwood. U-113324;Method: Printed;Location: Bottom of Card. Wording: (29) - 10257 - four thousand sheep changing pasture during a dry season - / Australia. Copyright 1908 by Underwood & Underwood. U-113121.;Method: Printed;Location: Bottom of Card.stereoscope, photographs, sun sculpture viewfinder, sheep, wool, station, underwood and underwood, dalgetys, warrah

Mt Beauty Higher Elementary School commenced in 1953 as the need for a secondary school grew with the increase in population due to the Kiewa Hydro Scheme. It became the Mt Beauty High School in 1964. The blazer was worn as part of the winter uniform.Historical: Education in Mt Beauty commenced relatively late so there was less of a tradition. The decision to adopt a uniform is of interest to compare with other schools and the times.Pure wool dark green flannel pocket cut out from a Mt Beauty High School blazer. Emblem is machine stitched and has a yellow wattle decoration outside a yellow frame. Across the top of the frame in yellow 'High School", across the bottom of the frame "Mount Beauty", the 2 sides of the frame are hollow. Inside the frame is a stitched picture with a light blue sky, royal blue mountains with white peaks and a white curved path leads towards the mountains with light green 'paddocks' either side. Inscription on back in yellow and white.Pinehurst / Blazer (in white) / Styled by Stamina / The "Doctor" / Pure Wool Flannel (in white) blazer, school, high school, uniform, mt beauty, emblem, education, clothing, winter

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." Can't you see them on your beds (blanket range)Can't you see them on your beds/Onkaparinga, the ALL WOOL Blankets with the 12 year guarantee/ Onkaparinga Woollen Company Ltd blanket, blanket fever, wool, onkaparinga, advertisement, the australian women's weekly

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." Crown of the glory box (ladies with blankets, lambs in bridal party)Crown of the glory box…./colour-bright….comfort-right….Onkaparinga/Choose Onkaparinga, the pure wool blankets you'll love and cherish for a lifetimeblanket, blanket fever, wool, onkaparinga, advertisement, australian women's weekly

Twenty page knitting pattern book featuring black and white text and images. The cover shows a woman wearing a knitted top tied with a ribbon at the neck.front: [printed] Patons / KNITTING BOOK / NO. 321 / P&B / WOOLS / "MORNING DEW" - See page 13 / 1'3d.fashion, design, knitwear, home made, wool, pattern book, patons

Twenty six page knitting pattern book featuring black and white text and colour images. The colour cover features a woman wearing a pink, yellow, red and purple knitted jumper.front: [printed] Patons / belles in bluebell / 667 / PRICE / CODE / D / PURE NEW WOOL / EASY / TO FOLLOW / PATTERNSfashion, design, knitwear, home made, wool, pattern book, patons

A nylon wool mixture sleeveless singlet with drawstring at neck that was possibly worn by George Reed when a patient at Heatherton Sanitarium c1950 "1909 'Consumption' or Tuberculosis was an infectious, debilitating disease. The main treatment of this ailment was a long period of rest, fresh air, sunshine and good food, so what better place to build a ‘Sanatorium’ than in the rural area they called Heatherton and affiliate it with the Melbourne Benevolent Asylum. After World War II c1947, the Commonwealth Government Health Department took over the Heatherton Hospital to deal with tuberculosis when it became a major problem in Australia. This was during the time when the Government conducted X-Ray surveys on a state by state basis. It was compulsory at that time for everyone to have a chest X-Ray. " ( KCC History Website 2020 , A.Bennett) Heatherton Sanitarium, situated in the City of Moorabbin, was the main rehabilitation hospital in Melbourne for patients suffering from 'Consumption' or Tuberculosis in 1909-1978 A wool / nylon mixture sleeveless Singlet with drawstring at neck that was used by George Reed at Heatherton Sanitarium c1950, Back neck ; ( ? Ward bed) 108Bclothing, singlets, underwear, heatherton sanitarium 1950, consumption, tuberculosis, rehabiltation, tb vaccine c1960, chest x-rays 1950, melbourne benevelont asylum cheltenham, brighton, moorabbin, pioneers, dressmaking, market gardeners, early settlers, craftwork, bentleigh, lacework, moorabbin shire reed george, dairy farms, fruit orchards

This dress was made for the Melbourne Show in 1993 and won 3rd prize. It was designed by Jean Inglis who was inspired by the Blue Triangle Butterfly (Scientific name: Graphium sarpedon choredon). The Warp was 2/24 commercially brought black wool with a “tie down” thread of black polyester and Weft of the same 2/24 wool 2 ply. Jean utilised a twill technique devised by Theo Morgan in creating the dress. The dress was handwoven by Jean Inglis with the help of Ruth Rondell with some of the pattern and final sewing. Black dress stretching from below the knees, reaching up to the neckline and down to the hands in the sleeve. The dress has three butterflies attached to the front approximately 50mm in diameter going from right knee to left hip in a nonvisible diagonal line. Lower half of dress has ten thin blue & green lines of varying lengths, reaching a max height of the hip. The neck of dress has four frills of blue and green colour. The longest two frills are in the centre pointing diagonally outwards towards the hands. The second layer of frills is shorter and further around the neckline towards the shoulders. The dress is completed with a cape of blue and green colour with a thick black seam separating each segment of colour. The cape sits on the shoulders and droops to a height of the hips. At the rear, the cape reaches the height of the rump. The cape has two draw strings for tying to the shoulders. wool, butterflies, melbourne show, butterfly

Collector says: I can still recall one of my earliest childhood memories, of my nana's bright aqua shoes against the checks of our family travel rug on summer picnics. Maybe that's when this collection planted its seed in me - 40 years later I start my first blanket collection after stumbling across old Onkaparinga travel rugs. I would go to a vintage market in Collingwood every month and almost always found a good one, amassing enough for the entire household. Everyone had their favourite, even the cat had his own – a small red tartan one just for him.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."Fringed plaid travel rug, brown, yellow and blue Onkaparinga/washing instructions/use A.W.C. approved wool detergent/warm machine wash on short gentle cycle/or warm hand wash/DO NOT BLEACH/warm rinse well on gentle cycle/normal spin/DO NOT TUMBLE DRY/dry in shade - gently pull to shape/dry cleanable (A) - in emblems: The Woolmark pure new wool, Woven in Australia, F 472wool, blanket, blanket fever, travel rug, onkaparinga

Collector says: "I can still recall one of my earliest childhood memories, of my nana's bright aqua shoes against the checks of our family travel rug on summer picnics. Maybe that's when this collection planted its seed in me - 40 years later I start my first blanket collection after stumbling across old Onkaparinga travel rugs. I would go to a vintage market in Collingwood every month and almost always found a good one, amassing enough for the entire household. Everyone had their favourite, even the cat had his own – a small red tartan one just for him."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. "Fringed travel rug, red, blue, green and blackOnkaparinga/washing instructions/use A.W.C. approved wool detergent/warm machine wash on short gentle cycle/or warm hand wash/DO NOT BLEACH/warm rinse well on gentle cycle/normal spin/DO NOT TUMBLE DRY/dry in shade - gently pull to shape/dry cleanable (A) - in emblems: The Woolmark pure new wool, Woven in Australia, F 472wool, blanket, blanket fever, travel rug, onkaparinga

white rectangle badge with black letteringSolomons supports wool pure new wool