"Code of Practice for Security of Wool Samples for Display Purposes: AS1809-1976"- Standards Association of Australia. Amongst items collected in Australian Wool Corporation folder (W6052)."Code of Practice for Security of Wool Samples for Display Purposes: AS1809-1976"- Standards Association of Australia. Amongst items collected in Australian Wool Corporation folder (W6052).With the compliments of The Australian Wool Corporationtextile research wool marketing textile testing, australian wool corporation standards association of australia, wool clip preparation, textile research, wool marketing, textile testing

For nearly a century, Paris was the most important centre for textile design. From all over the world textile entrepreneurs came to Paris for inspiration. From the 1930s, style services developed in Paris in which companies collected the latest textile samples and circulated them around the world. Subscriptions to this service was expensive, but it not as expensive as going to Paris and other places where new trends arose. Textile designers, in Geelong and Melbourne, subscribed to books such as John Claude Freres books to get the latest colour fashions.Unbound book comprised of 114 separate pages of fabric samples from John Claude Freres.fashion, john claude freres

Jane McGrath made this quilt 30 years ago from a tartan fabric sample book (c.1990). It was one of her first quilts. Jane was inspired to quilt by her mother Shirley Critchley. Jane recalls her mother being a very talented quilter, with one example being the “Unpicked Jumper Wagga” which can be found within the National Wool Museum’s Collection (REG 8283). Shirley taught Jane the basics in quilting and assisted her in preparing this quilt. The quilt is backed with material from disused woollen skirts. Jane could not recall what material was used for the internal insulating fabric. Jane donated the Tartan Fabric Sample Quilt to the National Wool Museum in 2021. The quilt had been languishing in her cupboard for many years and had found its way to the op-shop pile, as her children had no desire to inherit her quilts. The top layer of the quilt consists of five distinct rows of tartan samples appliqued together. The rows of tartan samples are broken with a boarder of white, grey, and brown fabric which runs in parallel lines. This fabric is also used to bind the quilt together at the edges. The internal insulating fabric of the quilt is not known. The backing fabric is a grey coloured wool originating from disused skirts. The Tartan samples contain stripes of varying width and colour. The samples have been arranged so that the stripes run diagonal on the quilt. Many different colours have been used. The predominant colours are red and black, with lessening amounts of blue, yellow, white, green, and grey featuring. quilts, tartan fabric samples, upcycle, shirley critchley/jane mcgrath collection

Made by Mrs Noel (Lizzie) Morton, the donor's mother on their farm "Wanera" at Benjeroop on the Murray River. It was stitched with a treadle machine. Her sister Flora MacDonald did the running stitch and provided the silk backing. The squares were sent as samples from a firm called "Fred Hesse" who advertised in the Melbourne papers "Be smart and dressy In a suit by Fred Hesse". The buyer chose a sample and then sent it back with measurements and received a "mail order" suit.A small knee rug made from suiting samples machine stitched together. It is backed with black silk fabric and finished with a running stitch of orange wool oversewn with black wool thread.farming quilting quilting - history, wanera benjeroop, farming, quilting, quilting - history

Sample wool press. Sample wool press.

Cloth sample from an opera cloak made in England c. 1820 from wool clipped from Macarthur's merino sheep in 1816. The cloak was passed down through the family to Harold Lethbridge with whom the main part of the cloak resides, in Narrandera. The fragment was passed to Lethbridge's niece who gave it to the donor's mother who passed it onto him and then it was donated to the National Wool Museum. The cloth fragment was tested by Gordon Institute of Technology in 1974 showing the wool to be very fine (15-16 microns) which is consistent with the pure lineage of Macarthur's sheep. The cloth fragment was framed in 1952 and remains in the original frame to this day. Cloth sample form an opera cloak made in England c. 1820. Wool for the cloak was clipped from John Macarthur’s merino sheep in 1816. Macarthur is recognised as the pioneer of the wool industry that was to boom in Australia in the early 19th century and become a trademark of the nation. Macarthur was responsible for the first bale of Australian wool to be exported. The British woollen mills were desperate for wool at the time because of the Napoleonic blockade, and the Australian bale sold for a record price. Australia needed a product to sell in European markets which did not perish during long sea-voyages and which offered high value per unit of weight. Wool also had a ready market in England because the Napoleonic Wars had increased demand and cut English cloth-makers off from their traditional source of quality wool, Spain. Australia's first $2 banknote featured John Macarthur thanks largely to his establishment of wool as the backbone of the early Australian economy. Red fabric sample folded in half and mounted in the centre of a brown metal frame.'ARCO' MADE IN ENGLANDmacarthur, wool industry, australian economy

The piece of oak wood sample inside the case was obtained from Mr. H Cooper during the time he served as a shipwright for the British Royal Navy on Nelson’s flagship, HMS Victory, in 1891. By that time the H.M.S. Victory was around 100 years old having been built in 1765 and was currently in dry dock undergoing restoration. Cooper’s skills as a shipwright would have been well employed during this period. HMS Victory was and still does undergoing continuous restoration to preserve her for display as a museum ship, due to the vessel's significant naval history. It was during that time of early restoration that Cooper obtained the piece of Oak from HMS Victory believed to be from the ships hull. Cooper was in Australia in September 1891 serving on the HMS Wallaroo, a British Auxiliary Squadron commissioned to serve as part of the British Royal Navy contingent, tasked to operate in Australian waters. The photograph included with the donation of the wood sample is a portrait of Mr H Cooper taken in 1895 in Sydney. The inscription on the photograph describes him as a skilled shipwright from the H.M.S. Wallaroo, depicting Cooper as a young man in Royal Navy uniform, with the emblem of a petty officer third class. While Cooper was stationed on the H.M.S. Wallaroo in Sydney he presented the display case, containing the wood sample from H.M.S. Victory, as well as the exhibit labels to Charles Harding, ("Chas") late of the Royal Australian Navy. Harding had been based at the H M Naval Torpedo Depot at Williamstown, Victoria. Although not mentioned, it is believed the two men met whilst serving together in Australia in their respective assignments. It could have been a retirement gift from Cooper to Harding with the photograph of Cooper likely included with the case, and gifted to Harding in 1895, as the date on the photograph indicates. One of the exhibits labels indicates that Harding had the item on display whilst serving at the Naval Torpedo Depot in Williamstown. The label indicates: "This piece of Oak is part of the hull of H.M.S. “Victory” Lord Nelson’s renowned Flag Ship, which took such a prominent part in the Battle of Trafalgar. 21st October 1805. Exhibited by Charles Harding, H.M.V. Naval Torpedo Depot, Williamstown.” After Charles Harding died in 1931 the case containing the sample of oak from H.M.S. Victory was donated by his son Reg Harding to Mr. Murphy in 1962. The display case has since become a treasured item at Flagstaff Hill. A newspaper article dated 1905 included with the donation mentions that the city of Hamilton in Victoria was shortly expecting a mounted piece of the H.M.S. Victory, to be included in the city’s commemoration of the centenary of the "Battle of Trafalgar". Battle of Trafalgar: On October 21, 1805, twenty-seven British ships of the line led by Admiral Lord Nelson aboard HMS Victory defeated thirty-three French and Spanish ships of the line under French Admiral Villeneuve. The battle took place in the Atlantic Ocean off the southwest coast of Spain, just west of Cape Trafalgar, near the town of Los Caños de Meca. The victory confirmed the naval supremacy Britain had established during the course of the eighteenth century and it was achieved in part through Nelson's departure from the prevailing naval tactical orthodoxy of the day. Conventional practice at the time was for opposing fleets to engage each other in single parallel lines, in order to facilitate signalling and disengagement, and to maximise fields of fire and target areas. Nelson instead arranged his ships into two columns to sail perpendicularly into the enemy fleet's line. During the battle, Nelson was shot by a French musketeer and he died shortly before the battle ended. Villeneuve was captured, along with his ship Bucentaure. He later attended Nelson's funeral while a captive on parole in Britain. Admiral Federico Gravina, the senior Spanish flag officer, escaped with the remnant of the fleet. He died five months later from wounds sustained during the battle. It was prior to this battle that Nelson had issued his now-famous final orders to his ships in 12 separate flag-hoists “England expects that every man will do his duty”. This wood sample is historically significant for its association with Admiral Lord Nelson the Battle of Trafalgar. Through Nelson’s leadership and unorthodox battle tactics, he secured not only a victory against the French and Spanish but reaffirmed Britain's naval supremacy opening the way for Britain to continuing the policy of colonisation of many countries including Australia.Wood sample adhered to the base of a hinged wood and glass display case. Wood is a sample of oak taken from the hull of Vice-Admiral Lord Nelson's flagship, the HMS Victory, built in 1765. The case also contain two exhibit labels pinned above the wood sample. Other items donated with the display case, and relating to the wood sample: an 1895 photograph, a 1905 newspaper clipping, a 1962 donor's letter (two pages), and a handwritten exhibit label with a border of red lines. Photograph Front: printed- "Herbst" "28 Oxford Street, Hyde Park, Sydney", handwritten - "Mr Cooper", "see back". Back: handwritten - "Mr H Cooper, skilled shipwright, H.M.S. Wallaroo 1895" Exhibit labels still in the case: Left: handwritten- “PIECE OF OAK FROM THE HULL OF H.M.S. VICTORY”, Right: typewritten- “This piece of Oak was originally obtained by Mr. H. Cooper, skilled shipwright on H.M.S. “Victory” & afterwards on H.M.S. “Wallaroo” on the Australian Station in 1895, when he presented this exhibit to me. Chas. Harding, Late Victorian Navy.”flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, oak, hms victory, vice-admiral lord nelson, horatio nelson, lord nelson, oak piece, piece of oaknelson, battle of trafalgar, maritime technology, ship relics, 18th century warship, british royal navy, h cooper shipwright, hms wallaroo, herbst hyde park sydney, charles harding, hmv naval orpedo depot williamstown, sir home popham’s telegraphic code, admiralty official day signal book

This is a sample of the material used for the kilts of the members of the Warrnambool and District Pipes and Drums. It was provided by Fletcher Jones and Staff Factory in Warrnambool. Warrnambool and District Pipes and Drums was originally founded as the Warrnambool Pipe Band in 1906 with the objective of popularizing Scottish music. Later this objective was altered to include the fostering of bagpipe music. The band’s tartan was firstly the Gordon tartan then the Cameron of Erracht tartan and today it is the Anderson tartan. Since its formation the group has won many State Titles and has performed well also at national competitions including winning the Grade 2 Australian Championship in 1992. This material is of interest as a sample of the material used for the kilts of the members of the Warrnambool and District Pipes and Drums, an important and long-established band in Warrnambool.This is a sample piece of tartan cloth of the Anderson Clan. The material was provided by the Fletcher Jones and Staff Factory in Warrnambool and used to make the kilts for the members of the Warrnambool and District Pipes and Drums. The pattern is in squares of blue, red, black, yellow, green and white. The sample has frayed edges.warrnambool and district pipes and drums, history of warrnambool, fletcher jones, tartan

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.

For those wanting to create a collection or to maintain an existing collection, this manual offers practical advice and explanations about audio-visual materials and their preservation.colour photographs, sample letters and documentsarchival materials, audio visual materials management, collection management

Sample book of Irish Lace thread ( Manilove's ) 6 samples on left side and 4 on right. Blue background. Samples in bow shape.handcrafts, lacemaking, commerce, advertising

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." Salesman's Wool sample card containing samples of wool at different stages of processingJohn Taylor/With Compliments from Onkaparinga/Woollen Co.Ltd/Adelaide, Sth Aust. Mills Lobethal and Thebarton, S.A/Always insist on Onkaparinga Rugs.Blankets.Worsteds.Melanges.Woollens and Flannelswool, blanket fever, advertisement, onkaparinga, sample

This Teak wood sample has been taken from a handrail on the wreck of the ship Otago. The fully rigged iron-hulled sailing ship Otago was built in Glasgow for the New Zealand Government as an immigrant ship, launched in 1869. One of the captains of the Otago was Joseph Conrad. He was one of the captains of the Otago and it was the only ship that he had ever commanded. Joseph Conrad (1857-1927) Joseph Conrad was Polish-born and became a British subject in 1886. He was a renowned marine fiction writer and also, for a short time, a mariner and Captain. As a boy of 13 years old, Joseph Conrad’s desire was to be a sailor. At 19, he joined the British merchant marine, working in several roles. He eventually qualified as a captain but only served in this role once, from 1888-89, when he commanded the barque Otago sailing from Sydney to Mauritius. In 1889 he also began writing his first novel, Almayer’s Folly. He retired from life as a mariner in 1894, aged 36. Conrad’s visits to Australia from 1878 to 1982, and his affection for Australia, were later commemorated by a plaque in Circular Quay, Sydney. Conrad continued as an author. It is said that many of the characters in his books were inspired by his maritime experiences and the people he had met. By the end of his life, he had completed many stories and essays, and 19 novels, plus one incomplete novel titled ‘Suspense’ that was finished and published posthumously. Shortly before he passed away, in 1924, Conrad was offered a Knighthood by Prime Minister Ramsay MacDonald for his work but declined. The Otago: - The 1869 iron-hulled barque Otago changed hands several times in the late 19th century. In 1903 the Melbourne shipping company Huddart, Parko & Co., purchased the ship and it was converted to a coal hulk for use in Sydney. The Otago was later sent to Hobart in Tasmania where it was in use there until 1931. The ship was eventually left to lay on the banks of the Derwent River until destroyed by fire in 1957. The wood sample is significant for its association with the ship Otago, the only ship that author Josep Conrad had command of as Captain. It was known as Joseph Conrad's Otago. The sample of teak is significant as an example of materials used in the construction of the 1869 iron hulled sailing ship, bult in Glasgow, Scotland. The association with the Otago is also significant for its use in building an immigrant ship for New Zealand.Wood sample; a rectangular section of a teak wood handrail that has a bead planed along one side. Two cards with the sample have inscriptions, one handwritten and one typed. The sample is from the wreck of the barque Otago, once under the command of Captain Joseph Conrad. Handwritten card: "PART OF TEAK HANDRAIL / from / Joseph CONRAD'S ship / OTAGO / (HULK at RISDON, DERWENT River, TASMANIA) Typed card: "PART OF THE TEAK HANDRAIL / FROM JOSEPH CONRAD'S SHIP / "OTAGO" / (HILK AT RISDON, DERWENT / RIVER, TASMANIA)"flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, joseph conrad, joseph conrad's ship, otago, ship's handrail, 1869 ship, migrant ship, immigrant ship, new zealand, sydney, newcastle, tasmania, iron hull, captain joseph conrad, author, mauritius

This ship's nail in a wood sample was part of the construction of the ship SCHOMBERG. About the SCHOMBERG- James Blaine’s Black Ball Line had commissioned the luxury sailing ship, Schomberg, to be built for its fleet of passenger liners The three-masted wooden ship was launched in 1855, designed by the Aberdeen builders to sail faster than the quick clippers designed by North American Donald McKay. The material used for the diagonal planking was British oak with layers of Scottish larch. The Schomberg’s master Captain ‘Bully’ Forbes commanded the ship on its maiden journey between Liverpool and Melbourne, departing on 6 October 1855 with 430 passengers and 3000 tons of cargo including iron rails and equipment intended the build the Geelong Railway and a bridge over the Yarra from Melbourne to Hawthorn. After sailing for 78 days she ran aground on a sand spit at Curdies Inlet near Peterborough, Victoria, on 27 December 1835. At dawn on the next day, the ship’s Chief Officer signalled a passing steamer, SS Queen, for help and all of Schomberg’s passengers were able to disembark safely. The passengers’ baggage and some of the cargo were later collected from the Schomberg. Local merchants Manifold & Bostock bought the wreck and the remaining cargo but did not attempt to salvage the cargo that was still on board. They eventually sold it and after two of the men drowned in the salvage efforts the job was abandoned. In 1975, divers from Flagstaff Hill, including former Director, Peter Ronald, explored the Schomberg wreck site and recovered many artefacts that are now on display at the Museum.The ship's nail in a wood sample is significant for its connection with the Schomberg, which is on the Victorian Heritage Register (VHR S612), has great historical significance as a rare example of a large and fast clipper ship that sailed on the England-to-Australia run, carrying emigrants at the time of the Victorian gold rush. She represents the technical advances made to break sailing records between Europe and Australia. Flagstaff Hill’s collection of artefacts from the Schomberg is significant for its association with the shipwreck. The collection is primarily significant because of the relationship between the objects, as together they can interpret the story of the ship, Schomberg. It is archaeologically significant as the remains of an international passenger Ship. It is historically significant for representing aspects of Victoria’s shipping history and for its association with the shipwreck and the ship, which was designed to be the fastest and most luxurious of its day.Ship's nail in a wood sample. The object was recovered from the wreck of the SCHOMBERG.flagstaff hill, warrnambool, maritime village, maritime museum, shipwreck coast, great ocean road, schomberg, clipper ship, black ball line, 1855 shipwreck, aberdeen clipper ship, captain forbes, peterborough shipwreck, ss queen, ship's nail, ship's wood, wood sample, ship construction

b&w photographs, sample reports and lettersarchives, australian archives, public records

13 strips of wood showing their different colour and grain and representing trees found in the Kiewa Catchment.A record of timber found in the Upper Kiewa Catchment13 different types of wood displayed in a wooden framed picture/wall hanging. Each wood is labelled. Green background and wooden frame.Labelled: Timber Samples - Upper Kiewa Catchmenttimber samples, upper kiewa catchment

This hollow core bit has hard cutting inserts for drilling into rock. It was used to drill and recover 50mm diameter (most common size) rock cores. The rock cores were assessed by geologists and engineers to provide information for design of structures such as tunnels, dams and underground power stations (eg. McKay Creek Power Station, West Kiewa Power Station). This type of bit was also used where damage to the surrounding rock had to be minimised. The Diamond Drill Bit,used in the early 1900's, when it was primarily used as a method of sampling rock for ore deposits and oil exploration resulting in a "coring" of rock. The use of "coring" to obtained samples for the SEC Kiewa Hydro Electricity Scheme(1920's onward) was to analyse the core to obtain temperature and rainfall patterns shown by the levels of layered solidified soil(rock). This diamond drill would have been used in the early 1900's to provide a sub strata map of temperature and water patterns (over an long period of time). This was a pre requisite to any decisions about the viability of the region to provide the water needed for a successful hydro electricity scheme.This diamond drill for core sampling was at the forefront of the analysis whether to construct a hydro electrical facility in the Kiewa Valley and the adjoining alpine region. The rock core samples produced were assessed by geologists and structural engineers. It was only after extensive core drilling covering the region that solid scientific evidence could be provided to start the "SEC Vic Hydro Electricity Scheme" within its current boundaries.This "diamond" drill bit has eight "teeth" at its cutting edge. The drill creates an 55mm hole in extremely hard rock material to obtain 50mm core samples.. Three quarters down the shank it has thread screw channels to attach the bit to the drill pipe. The coring pipe attaches via screwing it onto this bit. Core samples are the main objective of this tool.alternate energy supplies, alpine feasibility studies temperature, rainfall, sec, kiewa hydro electric scheme, electricity

These samples were displayed at the Sugarbeet factory. A glass jar of seeds from the same series has also been catalogued.A set of 15 clear glass jars with samples from the sugar making process. They are labelled in order; Cossettes, Pulp, Diffusion Juice, First Carbonator Juice, Lime Scum, Second Carbonator Juice, Thin Juice, Thick Juice, Standard Syrup, Green Syrup, Raw Massceute, Raw Sugar and Molasses.sugarbeet

Includes Advice on Planning and Assessment, Samples on each stage, Sample Units of Work, useful Resources.maps, tableseducation, curriculum development

Sample wool press.

Use: Domestic. household trimming Crochet imitating Torchon laceCrochet insertion. Sample

Quartz sample, small gold pieces embedded. Sample donated from estate of George Harris, Axedalegold, mining, harris collection axedale

Frederick Napoli Prescott was a prominent Bendigo Optician and Jeweller. He was born and educated in Hobart before joining his father's jewellery and optical business. After studying in Europe to gain further qualifications he returned to Australia and opened a business at the corner of Mitchell and Hargreaves Street Bendigo. He was later in partnership with Mr C.M. Dawe trading as Prescott & Dawe. Jeweller's sample card with six sample of Cameo brooches. Design numbers printed below each design.On the back of the card "From F. PRESCOTT. Artistic Jeweller, BENDIGOcameo brooches, jeweller's designs

Certificate awarded to Mr. Charles Wilson Peel for the best sample of merino lambs wool at the annual show for the Geelong Agricultural and Pastoral Society. The certificate is undated. Mr Peel owned a superfine merino stud at Gnawarre named Callenondah.Cream coloured stiff paper certificate with black printed text and sketches. Black ink handwritten personalised text to C.W. Peel for best lambs wool sample. Heading at top of certificate above the Australian coat of arms and sketch of horse and cow heads.

Certificate awarded to Mr. Charles Wilson Peel for the best sample of merino lambs wool at the annual show for the Geelong Agricultural and Pastoral Society. The certificate is undated. Mr Peel owned a superfine merino stud at Gnawarre named Callenondah.Red coloured stiff paper certificate with black printed text and sketches. Black ink handwritten personalised text to C.W. Peel for best lambs wool sample. Heading at top of certificate above the Australian coat of arms and sketch of horse and cow heads.

Certificate awarded to Mr. Charles Wilson Peel for the best sample of merino lambs wool at the annual show for the Geelong Agricultural and Pastoral Society. The certificate is undated. Mr Peel owned a superfine merino stud at Gnawarre named CallenondahRed coloured stiff paper certificate with black printed text and sketches. Black ink handwritten personalised text to C.W. Peel for best lambs wool sample. Heading at top of certificate above the Australian coat of arms and sketch of horse and cow heads.