Australian Wool Corporation folder, possibly produced for a conference.Australian Wool Corporation folder, possibly produced for a conference.WITH THE COMPLIMENTS OF THE AUSTRALIAN WOOL CORPORATIONtextile research wool marketing, australian wool corporation, textile research, wool marketing

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 interior view of wool bales on display.AUSTRALIAN NATIONAL PUBLICITY / ASSOCIATION / FLINDERS STREET RAILWAY BUILDING, / MELBOURNE AUSTRALIA / W1 / W1. Wool displayed.wool industry, working life, women, boonoke station, farming, sheep farming, agriculture, sheep stations, transport, wool processing, shearing, textile industry, wool

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 man working at vats dyeing wool.AUSTRALIAN NATIONAL PUBLICITY / ASSOCIATION / FLINDERS STREET RAILWAY BUILDING, / MELBOURNE AUSTRALIA / W28 / W28. Dyeing Wool.wool industry, working life, women, boonoke station, farming, sheep farming, agriculture, sheep stations, transport, wool processing, shearing, textile industry, wool

The National Wool Museum accepted a donation from Brian Licence in 2022 of several mementoes relating to his career in the wool industry. Brian studied Wool Classing and worked for a decade in this profession before moving to Melbourne which required him to change careers. These Wool Classing Clip Reports date from 1965 to 1966, there are 7 total. The reports give feedback to the wool classer about their clips recently classed. They include some suggestions as to how a wool classer may improve their performance, and how a wool grower may be able to increase profits from their flock.8 sheets of paper, slightly under a4 size at 260 x 205 mm. 4 sheets have a header from Elder Smith Goldsbrough Mort Limited, 2 from Bennett & Fisher Limited, and 1 from Roberts, Stewart & Company Limited. All Wool Classing Clip Reports have the same structure, a header from the sending company, a body paragraph of black ink from a typewriter, concluding with a signature at the bottom of the page. Some of the pages have yellowed with age, others have slight tears. Report 1 is by Elder Smith Goldsbrough Mort Limited. It is dated 4th March, 1965. Report 2 is by Bennett & Fisher Limited. It is dated 7th October, 1965. Report 3 is by Bennett & Fisher Limited. It is dated 11th July, 1966. Report 4 is by Roberts, Stewart & Company Limited. It is dated 12th July, 1965. Report 5 is by Elder Smith Goldsbrough Mort Limited. It is dated 9th November, 1965. Report 6 is by Elder Smith Goldsbrough Mort Limited. It is dated 5th July, 1965. Report 7 is by Elder Smith Goldsbrough Mort Limited. It is dated 26th October, 1965.Multiple. See Multimediawool classing

The Geelong Woolbrokers' Association: Constitution, Rules, Regulations, Wool Selling Regulations and Conditions of sale of wool and grain, 1951. Part of the NWM Woolbroker's Office exhibit until late 1990's.Mr Laird annotatedwool stores wool brokering, geelong woolbrokers' association, wool stores, wool brokering

Port of Portland AuthorityFront: (no inscriptions) Back: 177 (top left, pencil)port of portland

Acquired when "Classweave Industries" closed downWool Sorting 11/87 14textile mills - staff woollen mills, classweave industries pty ltd federal woollen mills ltd, textile mills - staff, woollen mills

This book was owned by the late Dr Elizabeth Kerr and was donated to the Museum by the executor of her estate, Margaret Cameron. This free pattern was given away by K-Mart, the department store, in 1984 when large knitted jumpers were particularly fashionable.The / Wool Collection / FREE / PATTERN / FROM K-MART / Quality always makes its mark. / PURE NEW WOOLknitting handicrafts - history, k-mart, knitting, handicrafts - history

The yarn was made in Geelong in the late 1980's or early 1990's by local woolen manufacturer J.L. McGregor Pty Ltd. The company closed in the early 1990s. The McGregor family still live in the Geelong area.A ball of grey yarn, 50% wool and 50% acrylic with a plastic label surrounding the wool with the product details.On Label: McGregors 50 Grams at standard condition 50% Wool 50% Flame resistant Acrylic Below Logo: Wool and Nu Acrylicwool, j.l. mcgregor pty ltd, yarn, geelong wool, geelong, geelong woollen mills

According to the donor these image copies were used in an exhibition, and distributed at the conclusion. Framed black and white photograph of a bullock team, wool laden waggon, cobb and bluestone buildings. wool waggon, skipton hotel

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.8340.1 - A pair of men's green shorts made from a wool blend fabric. 8340.2 - Green sample fabric with labels attached. 8340.3 - Green sample fabric.8340.1 - on label - FLETCHER JONES 8340.2 - on label - Wool PE. 80:20 PLAIN WEAVE SULZER LOOMolympics, 1992 barcelona olympics, olympic uniforms, wool, fletcher jones, wendy powitt, shorts

This stencil was used as a wool classification stamp for the transportation of wool bales. Classification stamps like these had to be approved by a Wool Classer and described the quality of wool inside the bale. The top line describes the classed line and breed group – AAA is the main line for any breed group, meaning that the wool is of high quality. FX, MX, SUP and SBK are the breed groups – FX is Fine Crossbreed and MX is Medium Crossbreed, SUP is Superfine Merino and SBK is Comeback.Wool bale export stencil - 56 WOOL AAA FX MX 1st COM WH SUP E CBK56 WOOL AAA FX MX 1st COM WH SUP E CBKwool transportation, wool export, wool class, wool sales

Single sided blue, red, black and white card with printed and hand written text, with decorative border. HIGHEST PRICE WOOL / Elders PASTORAL / J. F. & H Norris / SALE Geelong / DATE 10-9-91 / BRAND JFN/ROMANI / PRICE 1050c / DESCRIPTION SupAAAFM / BALES 6 / 17.4 MICRONS / 71.1% Yield / The above wool recorded the highest price / in the superfine section of the Elders Pastoral / catalogue offered in this series / [signature ? G Blood]wool auction, catalogue, wool bales, sale, wool growing, agriculture, industry, geelong, elders, woolbrokers, prizes

Small maroon hardback bookF. Kanematsu and Co Ltd Commonwealth of Australia. Central wool Committee. Limits Fixed for Appraisement of Australian Wool. 1945-46 Season.

Donated by Mr Leslie Rourke.Green textured soft cover booklet with black printed text on cover, 42 pages. Cover: [handwritten] W M Bakku Cover: [printed] THE NATIONAL COUNCIL / OF / WOOL SELLING BROKERS / OF / AUSTRALIA / WOOL REVIEW / 1974 - 1975wool brokering wool sales textile mills textile mills, national council of wool selling brokers of australia, wool brokering, wool sales, textile mills

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 bales of wool being loaded onto a ship.AUSTRALIAN NATIONAL PUBLICITY / ASSOCIATION / FLINDERS STREET RAILWAY BUILDING, / MELBOURNE AUSTRALIA / W41 Loading bales of wool on to / a ship for transport overseas.wool industry, working life, women, boonoke station, farming, sheep farming, agriculture, sheep stations, transport, wool processing, shearing, textile industry, wool

Romance of The Wool Trade Author: James Bonwick Publisher: Griffith, Farran, Okeden, Welsh Date: 1887Label on spine cover with typed text RA 636.31 BON Pastedown front end page has sticker from Warrnambool Mechanics Institute and Free Librarywarrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, shipwrecked-artefact, book, warrnambool mechanics’ institute, romance of the wool trade, james bonwick

Dark Blue hardback book with gold letteringWool Year Book 1947. Published by Textile Mercury

This book was produced by the English Woman's Weekly and given away free with a copy of that magazine. It was owned by Billie Rech, the aunt of the donor, who was a great knitter.Presented / with / WOMAN'S / WEEKLY / FAMILY / KNITTING IN / THICK WOOLhandicrafts - history knitting, english woman's weekly, handicrafts - history, knitting

Long coffee coloured wool lace evening gown with long sleeves and train. According to the donor (see correspondence in supp. file), this gown was made from Australian wool woven in Bradford and made up in Paris. It was given to the Melbourne Legacy Wives Association by Mr Ken Clarke (former head of the Wool Board and a Legatee) for use in a parade of garments by the Legacy Wives Association. This particular gown won an award (Wool Award/Gown of the Year?) in c.1957 and was on display in the window of the Georges department store in Melbourne.Long coffee coloured wool lace evening gown with long sleeves and train. Slip under coffee coloured lace dress. Detail of bodice of coffee coloured lace dress. Photograph from C of A: Ministry of Post War Construction Report c1945 "Wool"AC / AUST WOOL BOARDfashion, australian wool board, lace

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." Pure wool, cuddly and warm (boy asleep with lamb)Pure Wool cuddly and warm/Buy Well…Buy Wool/Onkaparinga new pastel multi-check blanketsblanket, blanket fever, wool, onkaparinga, advertisement, 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." Laconia Pure Lamb's Wool Blankets (mother and baby in bed)Laconia Pure Lamb's Wool Blankets/Make Goodnight a Certainty/*There's nothing in the World like WOOLblankets, blanket fever, wool, laconia, advertisement, australian women's weekly