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Tatura Irrigation & Wartime Camps Museum
Booklet, Collegium Taturense Anniversary 1940-1941, 1941
Compiled in camp 4 by Dunera faculty members to substantiate the academic standard of their school. 20 copies made.Handmade buff coloured booklet camp 13 handbound at spine with thread. Black ink printing on cover, water colour of Tatura 2 camp, b & w illustrations, water colour of port scene from the Dunera. Typed script on cover: "Collegium Taturense" encircling a ring of barbed wire which has an owl and cockatoo in it. Underneath is written "Anniversary 1940-1941"as abovecollegium taturence, collegium taturence anniversary 1940-1941, camp education -
Tatura Irrigation & Wartime Camps Museum
Book, Laird Lees Webster New Standard, 1924
Hard cover book with taped up spine.On spine: Dictionary 1924dictionary, laird & lee -
Tatura Irrigation & Wartime Camps Museum
Document, Collegium Taturense
"Collegium Taturense", document prepared by Camp 2 internees to substantiate the qualification of the camp teachers for acceptance of their students for matriculation standard."Collegium Taturense", document prepared by Camp 2 internees to substantiate the qualification of the camp teachers for acceptance of their students for matriculation tatura, collegium taturense, internment camps, camp 2 -
Maldon Vintage Machinery Museum Inc
Slide Rules
.1 to .4)Two SAA Conversion Slides supplied by Standards Association of Australia for converting imperial measurements to metric. .5) Plastic sleeve. .6) instruction leaflet.engineering -
National Wool Museum
Book, cloth sample, Physician Standard Shades Spring 1933 Collins Bros Pty. Ltd. Geelong
Part of Collins Bros collection. -
National Wool Museum
Tool - Glasses, c.1950
Nino Corda was a Geelong based textile designer who worked at various textile mills between 1957 & 2003. He travelled the world in search of the latest fashions and techniques and developed timeless designs that were much loved by Australians. These items are on rotational display at the National Wool Museum’s ‘In the Factory’ exhibition. For many years, Nino also worked as part of the Honorary Staff of the National Wool Museum. His passion for the world of textiles provided energy and knowledge to the visitors and staff of the museum. Although Nino has now retired from his honorary position and has hung up his Australian Tartan vest, these items will continue to serve the community in sharing the stories of Australian Textile design. Textile designers used glasses such as these to see how many threads are within a textile sample. It was important to count correctly, otherwise the enlarged final pattern would be out of alignment. These glasses were popular in the 1950s but were replaced by viewing lens, such as item 8040 (in the National Wool Museum's Collection) in the 1960s because of their compact nature.Thin metal wire makes up the frame of the glasses. The metal is a standard metallic silver. The piece to sit on-top of the ear is excessively curved to hook around the ear. This is done to ensure the glasses do not fall off the face while looking down to view thread counts in a textile sample. The glasses are lacking lenses in their usual place. This has been replaced by another thin wire frame which protrudes an extra inch in front of the frame, almost like an additional layer of the glasses. Where this layer / frame ends, two lenses can be found which are square and much smaller than typical glasses lenses. This has been done to allow for powerful magnifying glass which would be ill-suited if it sat too close to the face / eyes. The glasses are also accompanied by their original box. The box is blue and has a large rectangle running through its centre. This rectangle works as a cushion for the glasses and is required as a result of their unusual shape.textile design, textile calculations -
National Wool Museum
Tool - Drum Carder, Kacoonda, c.1980
This drum carder was purchase by Gill Stange at the Whittlesea Show in the late 1980s. The carder allowed Gill to spin fleece from her own Merino sheep. Merino is a difficult wool to spin when compared to other popular varieties, such as Corriedale or crossbred wool. The carder helped her to tease out the fleece, slightly separating the fibres before spinning. It also allowed for easier removal of foreign matters, such as seeds and mud. Little is known about the Kacoonda brand who produced the carder. They were Australian based and appear to have only operated throughout the 1980s.The carder has one large central roller with two smaller rollers on either side. The larger roller rotates in the inverse direction of the two smaller rollers. The carding cloth is a mint green in which closely spaced wire pins are embedded. The shape, length, diameter, and spacing of these wire pins is that of a standard carder. On one side of the carder a handle is found that is used to spin the three rollers. Additionally on this side is a sticker which reads “The Kacoonda Carder. Subject to Patent Action”. A Silver grip for the easy movement of the carder can also be found high on this side. On the opposite side of the carder, many nuts and plates can be found which hold the rollers in place. This is opposed to the other side of the carder, which has a brown plastic cover plate attached underneath the handle. The walls providing a path for the carded wool to follow when being carded, are made of wood. The carder comes complete with a teasing tool. This tool has the same mint green carding cloth as the carder’s rollers. It is attached to a simple wood handle for ease of use.Wording, green, printed. Sticker on side of carder. “The Kacoonda Carder / SUBJECT TO PATENT ACTION”whittlesea show, drum carder, textile production, carding wool, kacoonda -
National Wool Museum
Textile - Travel Rug, Godfrey Hirst, 1960s
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.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." Standard sized fringed plaid blanket in red and blue with black and yellow accentsMothproofed/Godfrey Hirst/100% Pure Wool Rugwool, blanket fever, travel rug, godfrey hirst, geelong -
National Wool Museum
Textile - Blanket, Collins Bros Mill Pty Ltd, 1950s
Collector says: "Once I had gathered a dozen or so blankets, I started noticing the many different labels; where they were made, by who, the logos and fonts used. Then the labels became a thing, then the blankets had to have a label to join the collection. My favourite labels are by Physician, they had at least 4 different labels over the decades but the best has to be the Lady In Bed logo. Physician, Onkaparinga, Eagley and others matched the colour of the label to the colour of the blanket - a nice touch. Strangely, Castlemaine labels were always sewn on the back of the blanket where all the other mills sewed theirs on the front. To this day I always roll or fold a blanket with its label on display.""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."Checked blanket, pink, blue and creamPhysician/Standard Chillproof/Pure Wool Blanket/Mothproofed/Made in Australiawool, blanket, blanket fever, physician, collins bros, geelong -
National Wool Museum
Ribbon
Awarded at Agricultural show.MALDON & BARINGHUP AGRICULTURAL SOCIETY 1970 Champion FEMALE STANDARD HEAVY BREEDagricultural shows, maldon and baringhup agricultural society, maldon, victoria, baringhup -
National Wool Museum
Ribbon
Awarded at Agricultural show.Colac K.P. & C.B. Club POULTRY SHOW 1959 BEST STANDARD HEAVY BREED MALEagricultural shows, colac k.p. and c.b. club, colac, victoria -
National Wool Museum
Ribbon
Awarded at Agricultural show.BALLARAT A. & P. SOCIETY - SPRING SHOW 1968 Best MALE STANDARD HEAVY BREEDagricultural shows, ballarat agricultural and pastoral society, ballarat, victoria -
National Wool Museum
Ribbon
Awarded at Agricultural show.BALLARAT A. & P. SOCIETY - SPRING SHOW 1971 Best FEMALE HEAVY STANDARDagricultural shows, ballarat agricultural and pastoral society, ballarat, victoria -
National Wool Museum
Ribbon
Awarded at Agricultural show.BALLARAT A. & P. SOCIETY - SPRING SHOW 1972 Best FEMALE HEAVY STANDARDagricultural shows, ballarat agricultural and pastoral society, ballarat, victoria -
National Wool Museum
Ribbon
Awarded at Agricultural show.BALLARAT A. & P. SOCIETY - SPRING SHOW 1970 Best FEMALE HEAVY STANDARDagricultural shows, ballarat agricultural and pastoral society, ballarat, victoria -
National Wool Museum
Card, Blanket
Part of Collins Brothers Collection.This blanket is guaranteed Australian made from "Pure New Wool" to confirm with the standards and requirements of the International Wool Secretariat and carries the Wool Symbol -
National Wool Museum
Ribbon
Awarded at Agricultural show.KYNETON AGRICULTURAL SCTY. ANNUAL SHOW 1970 Best MALE STANDARD HEAVY BREEDagricultural shows, kyneton agricultural society, kyneton, victoria -
National Wool Museum
Ribbon
Awarded at Agricultural show.THE GREAT NORTHERN SHOW - ROCHESTER 1963 Champion LIGHT STANDARD FEMALEagricultural shows, rochester, victoria -
National Wool Museum
Sample, wool, Samples representative of the official standards of the United States for grades of wool
Box of samples representative of the official standards of the United States for grades of wool, obtained from USA Department of Agriculture.Box of samples representative of the official standards of the United States for grades of wool.T-83 NOVEMBER 15....65 Elroy M Pople IN CHARGE LIVESTOCK DIVISION WOOL LABORATORYwool measurement, woolclassing objective measurement, usa: dept of agriculture port phillip mills pty ltd, wool - measurement, woolclassing - objective measurement -
National Wool Museum
Sample, wool, Samples representative of the official standards of the United States for grades of wool top
Box of samples representative of the official standards of the United States for grades of wool top, obtained from USA Department of Agriculture.Box of samples representative of the official standards of the United States for grades of wool top.T-19 APRIL 7.. 66 Elroy M Pople IN CHARGE LIVESTOCK DIVISION WOOL LABORATORYwool measurement, woolclassing objective measurement, usa: dept of agriculture port phillip mills pty ltd, wool - measurement, woolclassing - objective measurement -
National Wool Museum
Yarn
Darning wool produced by the Standard Wool Company of Stawell, Victoria.Darning yarn, produced by the Standard Wool Co. Pty Ltd."STANDARD" / DARNING WOOL / STANDARD WOOL / CO. PTY. LTD. / STAWELL / Victoria Australia / Shade No. 14handicrafts textile mills, standard wool co. pty ltd, darning, handicrafts, textile mills -
National Wool Museum
Label, Blanket
Blanket labels for Physician blankets.Red text and red and black image of woman lying in bed (printed) on white background. 'Holes' around edges used for stitching onto blankets.Physician standard chill-proof pure wool blanket made in Australiaweaving, collins bros mill pty ltd -
National Wool Museum
Yarn
'Corio' brand hand knitting wool, produced in Geelong, Australia. The weight of 25 grammes indicates a date of manufacture after 1966.Three balls of 'Corio' brand woollen hand knitting yarn, produced in Geelong, Australia.Corio / 8 PLY / WOOLLEN / HAND KNITTING / YARN / MADE IN / GEELONG, AUSTRALIA. / 25 GRAMMES NET AT STANDARD CONDITIONShandicrafts -
National Wool Museum
Extract, The human element in industry
"Extract from the Border Standard of June 10th 1933, Textile Institute Conference, Important Lecture by former Gelashiels College Principal, Dr T Oliver, on the human element in industry ""Extract from the Border Standard of June 10th 1933, Textile Institute Conference, Important Lecture by former Gelashiels College Principal, Dr T Oliver, on the human element in industry"textile industry, oliver, dr t -
National Wool Museum
Booklet, Code of Practice for Security of Wool Samples for Display Purposes: AS1809-1976
"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 -
National Wool Museum
Pamphlet, Step-by-step standard bale markings
"Step-by-step standard bale markings' - Australian Wool Corporation. Amongst items collected in Australian Wool Corporation folder (W6052)."Step-by-step standard bale markings' - Australian Wool Corporation. Amongst items collected in Australian Wool Corporation folder (W6052).woolclassing - objective measurement wool marketing wool - measurement wool sales sheep stations - management, australian wool corporation, wool clip preparation, woolclassing - objective measurement, wool marketing, wool - measurement, wool sales, sheep stations - management -
National Wool Museum
Blanket, Standard issue army blanket
Maker unknown. This blanket was part of the standard army issue kit and belonged to Lois Denshams father, who served at Gallipoli during the first world war. Before donating the blanket to the Running stitch collection, it was kept by Lois' Aunty Nita. Lois remembers that it was kept in her fathers original kit bag and kept at her aunts place because of sad memories about the war which her mother found difficult. The humble army blanket had many uses during war times. Issued with two blankets, it was all a soldier had as a bed to keep warm or without a tent, all they had to provide shelter from the sun, rain or wind. (They were supplemented with a woollen army 'great coat', but soldiers still had to huddle together as keeping warm and dry was a desperate game.) The Lighthorsemen used them under their standard leather saddles for extra padding and in the hospitals they were sometimes the only bedding for the wounded. This blanket belonged to Lois Denshams' father who served in the Australian Army in the First World War, landing at Gallipoli. Since the war, army blankets have come to be regarded as the basic type of blanket -no frills. This blanket was used in the Densham family since that time for camping trips.Grey woollen army blanket with stripes near either ends.world war i, running stitch group, running stitch collection -
National Wool Museum
Catalogue, Detached piece catalogue of the Hattersley "Standard Model" Fancy Woollen and Worsted Loom
Catalogue of woollen and worsted loom produced by George Hattersley & Sons Ltd.Catalogue of woollen and worsted loom produced by George Hattersley & Sons Ltd.textile machinery, george hattersley and sons ltd -
National Wool Museum
Manual, [Hattersley] Standard Loom Tuners Handbook: Setting instructions
This handbook contains the setting instructions for a Standard Hattersley Loom developed by George Hattersley and Sons Ltd. The Hattersley loom was developed by George Hattersley and Sons of Keighley, West Yorkshire, England. The company had been started by Richard Hattersley after 1784, with his son, George Hattersley, later entering the business alongside him. The company developed several innovative looms, of which the Hattersley Standard Loom – developed in 1921 – was a great success. The Hattersley Standard Loom was designed and built in 1921. Thousands of models were expected to be sold, which would bring considerable financial success to the company. After the recapitalisation boom of 1919, cotton yarn production peaked in 1926 and further investment was sparse. Rayon, an artificial silk, was invented in the 1930s in nearby Silsden, and the Hattersley Silk Loom was adapted to weave this new fabric. An example of this type of loom can be seen on Vic Collections here ( https://victoriancollections.net.au/items/54065d0f9821f50e3cc9c122 ) and is also on display within the National Wool Museum in Geelong, Victoria. A copy of this manual may be available by contacting the National Wool Museum Collection Team. Book, 64pp. Red and black loose leaf, soft cover, printed black ink. "[Hattersley] Standard Loom Tuners Handbook: Setting instructions " - George Hattersley and Sons LtdTHE BRUCE WOOLLEN MANUFACTURING CO LTDtextile industry - history textile machinery weaving textile industry - education, george hattersley and sons ltd, weaving looms, weaving machinery, textile industry - history, textile machinery, weaving, textile industry - education -
National Wool Museum
Book, Methods of test for textiles: B S Handbook no.11 1963
"Methods of test for textiles (excluding colour fastness tests): B S Handbook no.11, 1963" -British Standards Institution.textile fibres textile testing, british standards institution, textile fibres, textile testing