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." Playing card set - double pack of cards in original boxWith Complements "Onkaparinga"/Onkaparinga Blankets/Onkaparinga Robes of Distinctionblanket fever, onkaparinga, marketing

Used at Changi POW camp after the fall of SingaporeHigh significanceGrey woollen blanket with blue stripes and red trim

This is an advertising leaflet issued by the Warrnambool Woollen Mill Co. This mill was established in South Warrnambool in 1910 with John Bennett the first Manager. The mill’s production increased during both World Wars with government contracts and wartime demands. In the 1940s the mill employed over 700 people. In 1968 the mill was sold to the multinational company Dunlop which in turn sold the business in 1982 to Onkaparinga Woollen Mill. In 1983 Onkaparinga was taken over by Macquarie Worsteds and in 1994 this group pulled out of Warrnambool. The Warrnambool Woollen Mill closed in 2000 after 90 years of operation. This leaflet is of interest as an example of the advertising mechanisms produced by the Warrnambool Woollen Mill when it was a locally run large-scale business in the city. The business was a dominant one in Warrnambool for many decades, employing many local people. The factory itself was a well-known landmark in the city. This is a sheet of buff-coloured thick paper folded in two places to make a six-page leaflet. The front page has an aerial black and white photograph of the Warrnambool Woollen Mill, two of the inside pages have 12 black and white photographs showing the processes in making woollen blankets and two other pages have advertisements for Warrnambool blankets and dress suiting material. Inside the folder is a sample piece of pink blanket with a card in red and cream colouring showing the factory’s guarantee. The sample has been glued to the paper. There is evidence of silverfish damage on both the blanket sample and the paper. ‘With the Compliments of the Warrnambool Woollen Mill Co. Ltd.’warrnambool woollen mill

Onkaparinga started in South Australia in 1869. Migrating from Germany, two brothers, Heinrich and Edward Kramm, both weavers, purchased and brought with them some machinery and established themselves in Hahndorf in a mud hut. Their original plant consisted of one carding machine, one spinning mule of 30 spools and 2 hand looms. The spinning mule was horse driven, the others all hand operated. The wool was washed by hand and dried in the sun then teased by hand. Now 145 years later the brand name Onkaparinga, is known all over the world, the products reflect the experience, passion and ingenuity of over a century's tradition in providing luxurious home wares. Donated to the National Wool Museum by Joyce GrayLight orange waffle weave woolen blanket, with nylon trimming. Product tag included with plastic case. On product tag - The better way to sleep. Onkaparinga onkaparinga, blanket, wool, kramm

Worked in Needlework Class - 1943 At high schoolPink sampler - cotton Loose cream insert - other Blanket stich edge Various embroidery stitchesEmbroideredpink needlework sampler, needlework, heather mcnamara & isobel mcnamara

White cotton rectangular doyley edged in blue blanket stitch. Thick embroidery thread is used in flower pattern.manchester, table linen

Apron made from jute bag. One pocket. All edges bound in apricot wool blanket stitch.costume, female working

Portrait of a female nude with dark hair playing a tin whistle and seated upon a chair with an orange and brown blanket. Signed and dated (L.l) 'Clifton Jan '81'. On reverse in chalk 'Adriane '81'. On reverse: Label with number 31 and listing title, date, medium, size and price.clifton pugh, painting, portrait, adriane, tin whistle, dunmoochin

Browne family picnic, late 1800's. The adult males in suits are from L-R: Monty, Tom (centre with the youth leaning on him), Will (near centre at rear, in the light coloured suit) and John (leaning on a tree, RHS of photo).Photocopy of a black and white photograph of a large group of adults and children mostly seated on a large blanket having a picnic.browne family, picnic

Mrs Hubert Jeeves, nee Daisy Rowse with son Kenneth and daughter Elizabeth c1930.Sepia photograph showing woman seated in garden holding a baby wrapped in a blanket with a small boy seated beside her.daisy rowse, hubert jeeves, kenneth jeeves, elizabeth jeeves

Part of the Wagga collection. Maker unknown, c. early 1940s. Possibly from South Australia. This 'travelling rug' was found in an opportunity shop in Campbell's Creek near Castlemaine in Victoria. Unfortunately, nothing is known about the maker but it could be surmised that the quilt had many uses. It is heavy and designed for warmth, lined with a woollen blanket and hessian. Its size suggests usage in an open buggy or car when travelling or as a picnic rug along the way. The sturdy canvas backing is of the type commonly used for awnings, chair coverings or tent cloth. The quality of the green velvet made it ideal for further use as a quilt after the original use as an overcoat or smoking jacket for either a man or a woman. Apart from the original machine stitched seams in the garment, it is sewn together by hand using herringbone stitch. It is not known if this quilt was designed to be used with a cover. However, the arrangement of pieces in the garment to create a shape with straight edges may suggest that this may have been a consideration.Travelling rug made of wool, cotton and green velvet.No. 27 "Travelling rug" Maker Unknown Running Stitch Collection...quilting history, handicrafts, running stitch group, blankets, running stitch collection, highlights of the national wool museum: from waggas to the wool quilt prize - exhibition (22/09/2001 - 02/12/2001), quilting - history

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."Playing cards featuring Onkaparinga sales mottos and picturesOnkaparinga Pure Wool Blankets/Australia’s Best/Rugs, Blankets, Piece Goods, Men’s and Boy’s Clothing/Made from Pure Wool In White Pink Blue Green And Primrose/The Home Of The Famous Onkaparinga Pure Wool Products/White And Coloured Blankets Give Individuality And Charm/Made In Australiablanket fever, wool, playing cards, advertisements, onkaparinga

The quilt was purchased from the Wool Quilt exhibition held at the National Wool Museum in 1995. It was subsequently exhibited in the Expressions 2000: The Wool Quilt Prize exhibition in the 'Invited exhibitors' section of the show. (Jan Irvine wrote the catalogue essay for this exhibition.) The quilt is part of the "Running Stitch" Collection. This quilt is titled "Sure as Night follows Day" and was made by Jan Irvine from worn and recycled woollen blankets with wool batting. The quilt has been crazy pieced, air brush dyed and hand quilted. The quilt was exhibited in the Running Stitch Contemporary Wool Quilt Exhibition held at the National Wool Museum in 1995 and was purchased for $1800 from this exhibition. The quilt was catalogue entry no. 18. It was later exhibited in "Expressions 2000: the wool quilt prize" from 16 Sept. to 3 Dec. 2000 (extended until 2/2/2001, catalogue entry no. 26).Catalogue entry from "Expressions 2000" Catalogue, held 16th September to 3 December 2000. Introduction to exhibition "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery. Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 1 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 2 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 3 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 4 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 5 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 6 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 7 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 8 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 9 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 10 Biographical notes from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 1 Biographical notes from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 2 Biographical notes from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 3 Biographical notes from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 4 Biographical notes from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 5SURE AS NIGHT FOLLOWS DAY DESIGNER + MAKER: JAN IRVINE NSW AUSTRALIA MADE:1995...quilting, handicrafts, textile art, running stitch group, blankets, running stitch collection, irvine-nealie, ms jan

The dress is on doll.A handmade cream coloured fine wool dress. It has blanket stitch hemming and crocheted lace around the neck, sleeve and hem.baby dresses, baby clothing

Item brought home from Vietnam by Murray Stanley Metherall. Refer 590.2 for his service details.US Army multi pattern lightweight blanket, used by attaching to waterproof poncho or on its own. Includes 7 paragraph usage instructions."Liner poncho DSA 100-67. C-0046x16x"military equipment, uniforms, us vietnam

Cream Cotton Slip Scalloped Hemline edged with Blanket stitch Floral cream embroidery on hemline with 5cm Lace Yoke. Owens Familystawell clothing material

White painted metal toy ambulance with blue celluloid front and one side. One side with model lying down covered with blanket.Pat No. 238727/MB45/Matchbox/'Stretcha Fetcha'/Made in England/1971/Lesney Products & Co.toys, general

White painted dolls' pram. Cane basket on top of metal frame and wheels. Wooden handle. Blanket and pillows in basket - floral patterns toy, doll's pram, pram, doll

Army green woollen inner blanket has the ability to be adjusted into various sizes by using press stud snap shut closure buttons."CONLONS AUSTRALIA 1966^. 7210-66-011-5817"passchendaele barracks trust, wool blanket, equipment

Item appears to be all WW1 names, they are all being investigated to determine a possible area people were fromBanner, linen cream coloured with hand written names in black, sketches of plant motives, building, boardered with blanket stitching. Both sides are written on.“Hail ANZACS, Fight for Freedom, keep the home fires burning”anzacs, banners, ww1

Document, Princess Theatre Program, Princess Theatre. Matinee revue, Princess Theatre, May 22nd,1912, in aid of The Mayoress, Mrs.J.H.Curnow's Blanket Fund.document, music, princess theatre programmes

Photograph - black and white. Portrait of a baby. Baby wearing a dark coloured gown, white full bib, no socks on, sitting/laying of a fury blanket.Bartlett Bros., Sandhurst.person, individual, baby portrait, portrait of a baby.

Used at the Sunbury asylumPetticoat in unbleached flannel. Wide neckline and armholes blanket stitched in aqua wool. There are eight shaping darts (four front, four back) at the waist.Handwritten in black ink on the bias binding inside the hem, "F. E. Richards W. F. 2"costume, sunbury asylum, george evans collection

Silk matinee jacket embroidered down edge of front and sleeve edge in pink and blue flowers. Scalloped edging in blanket stitching. Ribbon tiescostume, infants'