Forest green hardback bookTextile Design and Colour. Elementary Weaves and Figured Fabrics. W Watson

The Wodonga Historical Society Haeusler Collection provides invaluable insight into life in late nineteenth and early twentieth century north east Victoria. The collection comprises manuscripts, personal artefacts used by the Haeusler family on their farm in Wodonga, and a set of glass negatives which offer a unique visual snapshot of the domestic and social lives of the Haeusler family and local Wodonga community. The Haeusler family migrated from Prussia (Germany) to South Australia in the 1840s and 1850s, before purchasing 100 acres of Crown Land made available under the Victorian Lands Act 1862 (also known as ‘Duffy’s Land Act’) in 1866 in what is now Wodonga West. The Haeusler family were one of several German families to migrate from South Australia to Wodonga in the 1860s. The textiles in the Haeusler collection belonged to Ilma Margaret Ernestine Haeusler (née Tasker), born in 1900 in Tallangatta. These textiles were handmade by Ilma between 1919 and 1928 for use in the family home during her marriage to Louis Alfred Haeusler (b.1878). Ilma died in childbirth in 1928, leaving one surviving son, John Alfred Lyell (b.1922). This textile is one of the many domestic objects in the Haeusler Collection that represent family and home life in early twentieth century Wodonga. In the nineteenth and early twentieth century prior to the mass production of clothing and textiles, needlework, alongside motherhood, was the defining work of women. Hand sewing and embroidery was central in the everyday lives and domestic roles of women. The item is handmade and unique, with well documented provenance. It forms part of a significant and representative historical collection which reflects the local history of Wodonga. It contributes to our understanding of domestic and family life in early twentieth century Wodonga, as well as providing interpretative capacity for themes including local history, social history, and women’s history.Hand embroidered doily with floral design and word "CAKE" stitched around outer rim of fabric "CAKE"textiles, sewing, handiwork, women's history, domestic, craft

Fabric samples produced by Aoki International, Japan and sent to Keith Jackson at Victorian Producers' Co-operative Limited.Fabric samples produced by Aoki International, Japan and sent to Keith Jackson at Victorian Producers' Co-operative Limited.Geoff, This is for Keith Jackson fron Aoki International (Vivo textil) Regards, Paul FINE WOOL 152 AOKI INTERNATIONA Vivo Textile Co. Ltd. C. Migutani Vivo Textileweaving textile design, aoki international limited, jackson, mr keith - victorian producers' co-operative limited, weaving, textile design

Textiles. Black silk faille handbag with gold metal frame with hinged clasp with black plastic top section. Front and back cardboardand base covered with black fabric with soft fabric side inserts. The front of the handbag is decorated with embroidered stitching. A 2 cm fabric carrying handle is attached to either side of frame. The handbag is lined with black silk fabric with one zipped pocket and one open pocket. Stored inside the handbag are two mirrors. 1. 12.8 cm x 7.6 cm with red leather backing. 2. Double sided mirror 6 cm x 8.6 cm , plus a small perfume bottle 1.5 cm x 2.8 cm x 1 cm with label "LE DIX" Balenciaga Paris France, and black plastic lid. Back of label "OFFERT" Not for sale.Label inside handbag ''A WYSOKIER'' V16 Top grade Failletextiles, domestic, ladies black silk taille handbag

Textiles. Large pieces of linen, 119 cm x 96 cm edged with a border, 8.5 cm deep of cotton lace, matching the lace of the bedspread. This lace has a corded effect, outlining 'finger shapes' of floral pattern, alternating with an open chain stitch, looped effect. Like the bedspread, the pillowcase is embroidered with the initials in satin stitch and some cut work embroidery. A smaller rectangle of linen fabric is stitched to the back of the fabric, to hold a pillow in place. Measuring 81 cm. x 48 cm. This envelope is tied with three ties of cotton tape. It could be presumed that these pillow slips would be a decorative feature of the bed linen. As on the bedspread, lavishly embroidered initials may be the initials of Caterina (Ina) Lamaro, who married Giovanni (Jack) Favaloro, or Caterina (Kitty) Lopes, who married Salvatore (Salve) Favaloro.textiles, domestic, two embroidered and lace pillow cases

Textiles. Linen flour bag printed on both sides in red and green.1. ''WITTSCHEIBE BROS. The famous WB Brand Regd. World's Best Self Raising Flour prepared from the choicest Victorian wheat. Factory 172 MITCHELL ST>< BENDIGO< 5 lbs''. Side 1 printed in black ink KA No 712. Side 2 printed in pen ink 1149. 5lbs net. Self raising Flour W.B. Brand Self Raising Flour is mixed and prepared from the choicest Victorian grown wheat, and possessing highly nutritious qualities is unequalled for Scones, Cakes, Puddings, ETC 172 Mitchell St., Bendigo, Telephone 339''.textiles, domestic, wittscheibe bros, bendigo. flour bag

100 plus years old, original owner Hughie H BothnaughtThirteen tools and two textiles displayed on two pieces of white backing board hinged together.'SHIPWRIGHT CAULKING TOOLS,' Individual labels are also included (from top) Oakum, Shipwrights caulking mallet, caulking cotton, raking tool, No.1.5 off set caulking iron, busting iron, no. 2 off set caulking iro(n). (Bottom board from left) Caulking iron no.3, Feeding iron, caulking iron no1 off set, caulking iron no1.5, caulking iron no.2.5, feeding iron, caulking iron no.2, feeding iron.

"Finishing Machinery" by W.M. Whiteley and Sons Ltd, Oct. 1922. Catalogue of machinery for finishing woollen and worsted cloths.Catalogue of textile finishing machinery produced by William Whiteley and Sons Ltd, Huddersfield, Oct. 1922.textile machinery textile finishing, wm. whiteley and sons limited, cloth - woollen, cloth - worsted, raising machinery, milling, tentering, textile machinery, textile finishing

Parts for grey textile machine manufactured by Scott Testers Inc, Builders, Providence R.I., USA.

This photograph shows the interior of the Valley Worsted Mill in 1923. The mill was first established at this time, and the photo shows the interior after tooling up but prior to the mill actually commencing operation. This photo is one of 31 in total and shows several Noble combs. The donor worked at the Valley Mill for many years. This mill still exists in Swanston Street, Geelong and is now being used by Melba Industries (an Austrim-Nylex company) to produce Jumbuck Nylon wool packs. "These 12 machines ended their working life in 1981 when the mill switched from the Bradford system of wool combing to the Continental system, the reason being was that the cost of maintaining them became too high, also the replacement rectilinear combs production rate was far greater and achieved higher yields although it could be argued that the Noble combs quality was superior". - Greg AldridgeBlack and white image showing the interior of a textile mill with machinery. Slightly overexposed on the right side.valley worsted mill, combing, noble comb, geelong

Model farm made by the Geelong Handweavers and Spinners Guild Inc. Entered in the 1993 Weekly Times Melbourne Sheep and Woolcraft Show, where it won 2nd prize in the team competition - five different articles made by a team.Model farm made using various textile processes by the Geelong Handweavers and Spinners Guild, 1993.handicrafts knitting, geelong handweavers and spinners guild inc., handicrafts, knitting

German 1867 - 1945Etching/textile trough press, K.96 xi, Plate 6, Peasant War cycle

German 1867 - 1945Etching/textile through-press, K.98 xi, Plate 7, Peasant War cycle

This laundry basket was made by Mr Walter Bullock helped by his son John at his workshop behind his house at No 35 High Street, Wodonga. This business was known as "Cantetex" and was given as a wedding present to Colin and Jennifer Hore in 1959. Mr Bullock passed away in Wodonga on 20 November 1973. Colin Hore is the son of Jack Hore, a very prominent member of the Wodonga Community. Jack Hore was awarded the Order of the British Empire, MBE in January 1962 for service as a Councillor of the Wodonga Shire Council. He held a Council seat continuously for 32 years, including eight terms as President. He also served two terms as Chairman of the Wodonga District Hospital Board 1961-62, having been a member of the board since 1954. He held a seat on the Victorian Country Fire Authority for many years until his death in 1970, having been a member of Wodonga Urban Fire Brigade since 1940. Jack played football with Wodonga for 14 years and coached the team to premiership honours in the Chiltern and District League in 1926. He was club treasurer from 1926 to 1940. Jack was also a Foundation member of Wodonga Show Society.This item is significant because it belonged to a member of a prominent Wodonga family and was manufactured in Wodonga.A laundry basket made from rattan cane work. The lid is cover in blue and white textile.walter bullock, cane furniiture, jack hore mbe

Textiles. Finely woven linen bed spread, white in colour, and with a ''turn-back'' top to come over or under the pillows. A 10.5 cm deep band of cotton lace trims the edge of this turn-back, and is gathered around the two lower corners, and extends 74 cm. along the side edges of the turn-back. An insert of lace, 2.5 cm wide, also outlines the turn-back, 8 cm from the edge of the linen. The lace trim has a scalloped edge, and a corded effect. Above the narrow band of lace, are beautifully embroidered initials CF. Some small red cotton embroidery on top hem-left hand corner. Embroidered in white cotton satin stitch, the initials are embellished with floral motifs and leaves, and some embroidered eyelets May be the initials of Caterina (Ina) Lamaro who married Giovanni "Jack" Favaloro, or Caterina "Kitty" Lopes who married Salvatoro "Salve" Favaloro.textiles, domestic, woven linen bed spread

Stormy skies can be memorable with dark and contrasting colours. They often appear menacing and producing apprehension in the air because of the oncoming weather. Fabrics used in this piece are all commercial. I have endeavoured to make the sky angry with stitches. The mesa has some very dark and ominous craggy rifts. ‘Sky Series’ Changes are constantly taking place in the sky . I love the variety, colour and movement of the sky which are all a direct result of the clouds, sun and time of day. I certainly think about the sky much more when we are on Safari. The sky is a great indicator of the ever changing time of day and weather conditions …... fine and clear, cloudy, sunset, sunrise and storms. The artwork features a simple ‘mesa’ shape against the sky. A mesa is a flat topped hill. Which are part of the Australian Inland. The mesa I have featured is in recognition of Mt Connor in the Northern Territory.Wangaratta Art Gallery CollectionA embroidered textile depiction of an outback landscape scene during a storm featuring a colour palette of blues and browns.june brown, textile

Remembering the White Building, 2017 Clare McCracken As Cambodia rapidly urbanises, it is the urban poor that are forcibly removed from their homes to make way for shiny new apartment towers they cannot afford. In 2014 during a residency at the White Building, a medium-density slum in central Phnom Penh, Clare stitched pocket-sized cross-stitches of the ornate bricks of the building over the top of cross-stitch patterns of Angkor Wat. She gifted these tiny works to the residents she met - something they could take with them as a reminder of their community when it was demolished. In 2017, as the Cambodian government demolished the building, Clare created another series of the works: in memory of a community that had now been destroyed.Wangaratta Art Gallery CollectionA textile artwork that is made up of 4 cross stitch squares with each square a different colour and design.clare mccracken, cross stitch, textile

Photographs were most likely used for promotional purposes. The photographed machine was made by Tomlinsons (Roshdale) Limited, was British machine manufacture company based in Rochdale.Black and white photo of a Rag Puller Machine in landscape format. Location of photo looks to be in a textile mill.On machine - Tomlinsons (Roshdale) Limited.textile machinery, wool manufacture, wool, timlinsons, rag pulling

Textile machine - Gill box. Combs and brushes driven by electric motor. Name plate of machine is missing.

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

Paula DO PRADO Born Montevide, Uruguay Arrived Australia September 1986 Paula Do Prado holds a Bachelor of Fine Arts (Textiles) with First Class Honours and a Master of Fine Arts from Art & Design at the University of New South Wales.Her works are compelling, multi-layered and rich with cultural references surrounding concepts of identity, race and gender. Her practice draws on materials, sayings and imagery collected from many different sources including the generations of her family history. By sharing her own personal stories, her work creates a dialogue around issues of immigration and multiculturalism, which are just as relevant now as ever. Triptych flag, textiles, button, available

Forty seven page book with metal binding and black and white printed text. A piece of paper is stapled to the inside cover page. Cover is grey, with printed black text. front: [printed] TEXTILE INDUSTRY AWARD / Printed privately by / CHAMBER OF MANUFACTURES INDUSTRIAL SERVICE unions, textile workers union, award, legal document, textile industry, woollen, worsted

I see my work with textiles as always a negotiation of both the poetic and the political. A medium often relegated to the realm of ‘craft’, I see working with wool as a subtly subversive methodology, and an opportunity to engage in socio-political critique. As a laborious yet cathartic craft, the delicately feminine familiarity and domestic warmth of my hand-sewn tapestries allows me to open up and question traditional notions of masculinity through the enactment of a highly personalized queer ritual. Furthermore, wool carries with it frontier pastoral associations of early colonial expansion, and it is in this context that the work Map, which is based on the ethnographic mapping of indigenous language groups, was envisioned.contemporaryWangaratta Art Gallery Collection. Work acquired as winner of 2013 Wangaratta Contemporary Textile Award. Digital reproduction courtesy of the artist, Neo Parc Melbourne and Hugo Michell Gallery Adelaide.A rectangular wool needlepoint textile work that features a multi-coloured map of Australia on a black and white checkered background. textile, wcta, wangaratta art gallery, paul yore, wool needlepoint

When in the desert it is frightening to see a distant fire, even though you may not see the actual flames. As evening approaches the sky reflects anger and colour. The mesa is also reflecting some of the glow . I imagined it had been burnt already and some embers are still aglow in the evening light All fabrics used in this work are cotton commercial fabrics. My stitching has been done to accentuate the red reflection in the sky. Black rayon thread gives a certain sheen to the mesa with a dried grassy foreground. ‘Sky Series’ Changes are constantly taking place in the sky . I love the variety, colour and movement of the sky which are all a direct result of the clouds, sun and time of day. I certainly think about the sky much more when we are on Safari. The sky is a great indicator of the ever changing time of day and weather conditions …... fine and clear, cloudy, sunset, sunrise and storms. The artwork features a simple ‘mesa’ shape against the sky. A mesa is a flat topped hill. Which are part of the Australian Inland. The mesa I have featured is in recognition of Mt Connor in the Northern Territory.Wangaratta Art Gallery CollectionA embroidered textile depiction of an outback landscape scene during a fire featuring a colour palette of pinks, purples, and browns.june brown, textile, landscape

Caps were a popular form of memorabilia for Falls Creek. The badges represents various Ski Clubs and Ski Schools. The badges on this cap include three Kids Ski Club Australia - Qantas Badges, two Falls Creek Ski Club Junior Racer badges and one Love Skiing Badge with the word love represented by a heart,. There are also seven other Falls Creek badges of various designs.This cap is representative of a range of memorabilia used to promote Falls Creek,Peak cap purple textile with geometric ribbon Falls Creek Australia in light blue 13 souvineer badgesFalls Creek AUSTRALIAfalls creek, ski school, qantas, badges, skiing

One of fifty one photographs originally in a photo album found in the National Wool Museum’s office. The album was water damaged and the images were removed for conservation. The images follow the process of wool. Beginning in a sheep paddock and finishing as a folded fabric. It includes all the steps in between in this process, including shearing, transporting, selling, washing and the many different steps in the process of turning a single thread of wool into fabric.Black and white image showing a cropping machine processing woollen textile. A man is shown standing near the machine.AUSTRALIAN NATIONAL PUBLICITY / ASSOCIATION / FLINDERS STREET RAILWAY BUILDING, / MELBOURNE AUSTRALIA / W31 / W31. Croppingwool industry, working life, women, boonoke station, farming, sheep farming, agriculture, sheep stations, transport, wool processing, shearing, textile industry, wool