Showing 8104 items
matching wool
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Churchill Island Heritage Farm
Driving shaft
Overhead driving shaft with 3 wheels for shearing machinesfarm machinery, shearing, driving shaft, machine driven, wool -
Ballaarat Mechanics' Institute (BMI Ballarat)
Guthrie & Co near Railway station
This photograph is from the Max Harris Collection held by the Ballaraat Mechanics' Institute. Please contact BMI for all print and usage inquiries.ballarat, guthrie & co, mair st, wool, warehouse -
Whitehorse Historical Society Inc.
Clothing - Doll's blue dress, C 1970/1980's
Blue doll's dress with both knitting and crochet and chain stitch ties.dolls clothing, knitting, crochet, wool, toys -
Whitehorse Historical Society Inc.
Clothing - Doll's maroon socks and maroon cream strip cardigan, 1970's /1980's
Maroon dolls slacks with elastic top, maroon cream strip cardigan with long sleeves and collar and 5 maroon buttons.dolls, dolls clothing, knitting, toys, wool -
Whitehorse Historical Society Inc.
Clothing - Pink & white doll's Bonnett, 1970s /1980s
Pink & white checked bonnet with white brim edged with pink rick rack edging and white ribbon ties.dolls, dolls clothing, knitting, toys, wool -
Glenelg Shire Council Cultural Collection
Textile - Tapestry, Portlands Fibre Group, Women's View On Peace, 1987
International Year of Peace TapestryTapestry depicting three outlines of doves, with depictions within their outlined shape of stars, flowers, and two sets of (depicted in white and brown) holding wheat and corn. The background is composed of rainbow colours arranged in horizontal strips, with red at the top and indigo at the base.textile, international year of peace, tapestry, wool, weave -
Whitehorse Historical Society Inc.
Clothing - Pink patterned doll's hat, 1970's / 1980's
Pink Doll's hat with pattern and small brim.dolls, dolls clothing, wool, knitting, toys -
National Wool Museum
Photograph - Carding Machines
Sales photograph for William Tatham Ltd. of Rochdale, to showcase new Carding Machines in a newly developed textile factory. The photograph was taken in Glasgow, Scotland.A black and white photo of a room filled with working Carding Machines in a portrait format. A man is working at the end of the closest machine.On rear - top margin - Showing Card Sets in new Card Room. Bottom right corner - Commercial Artists photographers and blockmakers Scottish Studios and Engravers LTD. 196 Clyde st. Glasgow. C C.P.D 6893 Dtextile machinery, wool manufacture, carding, wool, glasgow -
National Wool Museum
Machine - Sock Knitting Machine
Knitted fabric is made with a single yarn or sets of yarns moving in only one direction. Whether done by hand or by machine, the process is the same. The knitting needle loops the yarn through itself to make a chain of stitches. These chains, or rows, are connected to produce the knitted cloth. There are two types of commercial knitting machine. A flat-bed has its needles, one for each loop, arranged in a straight line to produce a flat fabric. A circular machine has its needles arranged on a rotating circle. The cloth forms as a tube which can be made into seamless clothing. Griswold bench-type sock knitting machine hand operated by turning the handle.sock knitting machine, textile industry, wool, fashion, clothing -
NMIT (Northern Melbourne Institute of TAFE)
School Uniforms: Collingwood Technical School Blazer 1912-1969, School Blazer: Collingwood Technical School 1912-1969
The logos on the breast pocket of these two blazers is CTS for Collingwood Technical School which dates from 1912 to 1969. From 1970 CTS changed its name to Collingwood Technical College.Two Collingwood Technical School blazers. One has an epaulette on each shoulder with two gold stripes on each, and has a manufacturer's label from 'waldron's / SCHOOLWEAR' and is a size 13. The second blazer has a Form Captain badge and an SRC (Student Representative Committee) badge on the lapel, and has a manufacturer's label 'School Master / by kingswear' and is a size 17. Both blazers have CTS logos on the breast pocket, and both have another label which reads The FAMOUS / Doctor / FLANNEL / AUSTRALIAN WOOL BUREAU / GOLD MEDAL WINNER / ALL PURE WOOL / MOTHPROOFED'School logo on pocketcollingwood technical school, school blazer, school uniforms, nmit, -
City of Greater Bendigo - Civic Collection
Textile - Yomut Turkmen Islamic Rug, c 1880
This rug was a gift and gesture of friendship from the local Muslim community to the City of Greater Bendigo. It was presented to Mayor, Cr Rod Fyffe on behalf of the people of Bendigo at a 2016 'Thank You Bendigo' dinner. In 2014 approval for a planning application from the Bendigo Islamic Association to build a community centre and mosque in East Bendigo prompted a series of public protests that captured widespread media attention. During this tumultuous period the Council identified the need for a community-wide plan to promote diversity and help address potentially divisive cultural issues. These events led to the COGB becoming the first local government area (LGA) formally accredited under Australia’s Welcoming Cities Standard. Community leaders emerged who wanted to show that the anti-mosque protesters did not reflect the views of the majority of Bendigo residents. The community lead ‘Believe in Bendigo’ movement gained momentum, and the Council and other local organisations joined forces to present a unified message that Bendigo residents do not tolerate racism. Muslims have made Central Victoria their home since the Goldrush, contributing to the community and the economy for the past 120 years. Traditional Islamic rugs, especially their patterns and motifs are intrinsically linked with the design of the Bendigo Mosque and Bendigo Islamic Community Centre providing important points of reference for the architects of the project. Typically, mosques are linked with specific cultural groups but not in the case of Bendigo where the Muslim community is made up of multi-ethnic groups. This meant the building's design was not fixed to a specific style or cultural iconography but instead needed to encompass many. The small local Muslim community selected a specific Australian architect because of their interest and knowledge of Islamic design and iconography gained through family collection of Islamic textiles. In thinking about the design of the mosque and community centre the architects wanted to acknowledge the role of Afghans in Australian history, especially tribal Afghans who helped build connections across the interior of Australia between First Nations communities, European settlers and Central Asian migrants. The gift of this Turkmen rugto the Bendigo community thus symbolises collaborative partnerships across faith and cultural groups based on friendship and mutual benefit. A Turkman rug was specifically chosen as it is the pinnacle of nomadic arts of the Islamic world. It was also important to the architects and the local Muslim community that the gift was a female artistic product as it was mainly a female Muslim architecture team that designed the mosque in Bendigo and there was a desire to select something that celebrated female artistry. This hand-woven rug is an engsi, made for a woman in preparation for marriage. Design work and weaving is a shared experience, between many generations of women and each rug hold the personal story of the woman it is made for and her family and thus holds deep symbolic meaning. There are often songs and poetry that are recited as the rug is made – helping the makers to memorisze the mathematical structure of the design. An engsi is put on the doorway to a yurt as part of a wedding ceremony. During the ceremony the groom turns the engsii upside down to check the quality of the rug makers weaving skills. The nomadic lifestyle of Yomut Turkman tribes determines the size of the rug as the loom can’t be carried. Its size is also restricted by the dimensions of the doorway of the yurt. This rug is dated as c 1880 because of the types of patterns used, the use of natural dyes (synthetic dyes were introduced to the area in 1890s) and with the smoother weaving on the back indicating the quality of craftsmanship dating to this time period. The Yomut engsi rug was made in Turkmenistan c1880 by Yomut Turkmen Tribes people and is designed to fit over the doorway of a yurt during a wedding ceremony. The main field motif is related to Turkoman jewelery design. The women and girls of the tribe spin the wool and design and weave the rugs. The men shear the sheep, dye the wool and clip the rug after it has been woven. The word “Turkoman” is thought to have been derived from Turk-iman, meaning the first nomadic Turkic tribes that began to follow Islam. Dyes used are natural including orange from madder root. bendigo mosque, bendigo islamic association, city of greater bendigo community partnerships, city of greater bendigo community groups -
Bendigo Military Museum
Uniform - BATTLE DRESS, ARMY, WW2, Akubra, 1. 1942. 3. 1985
Colour patch is probably 2/2nd Heavy AA Regiment.1. Jacket, wool. Colour sort of grey tinted khaki. Has 4 front pockets. Buttons are darkened AMF type - 4 on front. Epaulettes have darkened "AUSTRALIA" name badge on each collar have darkened Rising Sun Badges. Shoulders have a triangular shaped colour patch. Red and Blue triangle on grey felt triangle. Chest has a ribbon bar showing 4 service medals. 2. Trousers - wool - colour Khaki. 3. Hat - Khaki, slouch. WW1 style hat band. Darkened Rising Sun Badge- AMF.Trousers - in green texta - 21-95 in waistline.ww2, uniform, army, passchendaele barracks trust -
Royal District Nursing Service (now known as Bolton Clarke)
Photograph - Photograph, black and white, 1958
This photograph depicts a Melbourne District Nursing Service (MDNS) Sister administering an injection to a gentleman in his own home in the suburbs of Melbourne. The Sister is wearing the MDNS winter grey uniform short sleeve dress and grey wool beret with a central red Maltese cross. Glass syringes were used until the mid 1960s when plastic disposable syringes were then used.The Trained nurses of the Melbourne District Nursing Society (MDNS), then Melbourne District Nursing Service from 1957, and from 1966 known as Royal District Nursing Service (RDNS), visited patients in their home and gave best practice care in many fields of nursing and to people of many cultures throughout its 130 years of expansion. Initial visits not only assessed the specific nursing situation but the situation as a whole. Their patients ranged in age from babes, children, adults to the elderly and referrals were taken from Hospitals, General Practitioners and allied Health facilities. Some of the care the Sisters provided is as follows: – Post-Natal care given to mother and babe, Wound Care following various types of surgery, accidents, burns, cancer, leg ulcers etc. Supervising and teaching Diabetic Care, including teaching and supervising people with Diabetes to administer their own Insulin, and administering Insulin to those unable to give their own injections. Administering other injections and setting up weekly medication boxes. The Sisters performed Catheterizations on adults suffering from conditions such as Quadriplegia, Paraplegia, Multiple Sclerosis (MS), Motor Neurone Disease (MND) and Guillan-Barre Syndrome, and when required at school on children for e.g. those with Spina Bifida. The Sisters visited those requiring Cystic Fibrosis support and care; those requiring Haemo-Oncology care, including visiting children at school; those requiring Home Enteral Feeding care, and those requiring IV therapy at home and home Dialysis. Palliative Care was given including pain relief with the use of syringe drivers, personal care as needed, and advice and support to both patient and family. The Sisters provided Stoma management to those needing Urostomy, Ileostomy and Colostomy care and those requiring Continence care. HIV/AIDS nursing care was provided; visits to Homeless Persons were made. Personal care was given to patients ranging in age and with varying mobility problems, such as those with MS, MND, Guillan-Barre Syndrome, Quadriplegia, Paraplegia, Acquired Brain Injury, to those following a Cerebrovascular Accident (Stroke), those with severe Arthritis and those with a form of Dementia. When necessary the elderly were assisted with personal care and advice given on safety factors with the use of hand rails, bath or shower seats, and hand showers. Rehabilitation with an aim towards independence remained at the forefront of the Sister’s minds and when possible using aids and instruction on safe techniques enabled the person to become fully independent. All care included giving advice and support to the patient and their Carers. The Sisters liaised with the persons Doctor, Hospital and allied Health personal when necessary. This photograph depicts Melbourne District Nursing Service (MDNS) Sister Mary Maxwell administering an injection into the left upper arm of Mr Cannestra. On the left of the photograph Mr Cannestra is sitting on the padded arm of his patterned couch; he has his left arm extended. His head, which is bald with some white hair at the side and rear, is turned towards the Sister who is standing on his right. He is wearing a grey shirt and his grey trousers are held up with braces. Sister Maxwell is wearing a white gown over her grey uniform with the collar seen. She is wearing a grey wool beret with central Maltese cross, over her short, dark hair. She is standing beside the patient and her left hand is holding his left arm with his shirt sleeve rolled up to expose his upper arm. She is holding the angled barrel of a glass and metal syringe in her right hand and some of the needle can be seen against Mr. Cannestra's arm. In the background the wall is covered with a striped wallpaper, and to the right part of a long floral curtain can be seen. To the right in the foreground, a round dark tray with jar, small bottle containing the medication for injection, a glass and a white cloth, sit on a small round table with a white and patterned tablecloth.La Trobe Street Studios. Reference number 59134-21melbourne district nursing service, mdns, mdns - injection, royal district nursing service, rdns, sister mary maxwell, mr cannestra -
National Wool Museum
Wool Jack
Wool jack manufactured by Poole & Steel of Balmain, NSW. -
National Wool Museum
Sample, Wool
Wool was made in dyeing workshop at Warrnambool TAFE College.DAHLIA PETALSI/ALUM Dahlia petals/ 1st batchhandicrafts, south west college of tafe - textiles department, dyeing -
National Wool Museum
Sample, Wool
Wool was made in dyeing workshop at Warrnambool TAFE College."Canna leaves/alum" "Canna leaves/alum mordant"handicrafts, south west college of tafe - textiles department, dyeing -
National Wool Museum
Photograph
Depicts the interior of a wool store, c.1920s-30s.wool stores -
Kilmore Historical Society
THE LAW RELATING TO BILLS OF SALE, J.G. Eagleson, The Law Relating to Bills of Sale, 1911
Contracts of Sale, liens on crops & wool and stock mortgages.Green cloth-bound hardcover book, faded, worn at extremities. Foxing to front and rear pages. Evidence of previous hinge repair. 394 pp. Fair condition.Nilbills of sale, kilmore court house library -
National Wool Museum
Uniform - 1992 Barcelona Olympic Games Women's Tan Shoe, Wendy Powitt, c. 1992
Uniforms for the 1992 Barcelona Olympic Games were designed by Wendy Powitt in conjunction with the AWC. Doug Pleasance, donor of these items, worked for the AWC and closely with Wendy Powitt, obtaining these uniform examples. About the Olympic Uniforms Doug wrote- 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 T D 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.Women's left brown peep toed, cut out, heeled shoe, manufactured by Hush Puppies. Only the left shoe.1992 barcelona olympics, sport, athletes, fashion, design, uniform -
National Wool Museum
Uniform - 1992 Barcelona Olympic Games Women's Black Shoe, Wendy Powitt, c. 1992
Uniforms for the 1992 Barcelona Olympic Games were designed by Wendy Powitt in conjunction with the AWC. Doug Pleasance, donor of these items, worked for the AWC and closely with Wendy Powitt, obtaining these uniform examples. About the Olympic Uniforms Doug wrote- 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 T D 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.Women's left black leather heeled shoe, manufactured by Hush Puppies. Simple and unadorned in style with a rounded toe. Only the left shoe.1992 barcelona olympics, sport, athletes, fashion, design, uniform -
National Wool Museum
Uniform - 1992 Barcelona Olympics Men's Tan Shoes, Wendy Powitt, c. 1992
Uniforms for the 1992 Barcelona Olympic Games were designed by Wendy Powitt in conjunction with the AWC. Doug Pleasance, donor of these items, worked for the AWC and closely with Wendy Powitt, obtaining these uniform examples. About the Olympic Uniforms Doug wrote- 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 T D 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.Men's tan coloured shoes with appliqued leather design attached to the laces creating a wave-like point on the sides of the shoes.1992 barcelona olympics, sport, athletes, fashion, design, uniform -
National Wool Museum
Uniform - 1992 Barcelona Olympics Men's Black Shoe, Wendy Powitt, c. 1992
Uniforms for the 1992 Barcelona Olympic Games were designed by Wendy Powitt in conjunction with the AWC. Doug Pleasance, donor of these items, worked for the AWC and closely with Wendy Powitt, obtaining these uniform examples. About the Olympic Uniforms Doug wrote- 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 T D 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.Men's black leather brogue shoe. Leather detail stretches around the bottom of the shoe and the toe as well as around the opening of the shoe and the laces.1992 barcelona olympics, sport, athletes, fashion, design, uniform -
National Wool Museum
Uniform - 1992 Barcelona Olympics Women's Barramundi Skin Bag, Wendy Powitt, c. 1992
Uniforms for the 1992 Barcelona Olympic Games were designed by Wendy Powitt in conjunction with the AWC. Doug Pleasance, donor of these items, worked for the AWC and closely with Wendy Powitt, obtaining these uniform examples. About the Olympic Uniforms Doug wrote- 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 T D 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.The bag is small, tanned leather with a panel on the front of the bag made from delicate, tanned barramundi skin. The handle is attached to the bag using a gold loop in the centre, top of the bag and one long adjustable strap, The main clasp of the bag features an image of the Australian emblem above the Olympic rings, the reverse of the bag is unadorned.Clasp on the front of the bag has the image of the Australian emblem over the Olympic rings. On the inside of the bag is a label- "Witney Green" "Made in Australia"1992 barcelona olympics, sport, athletes, fashion, design, uniform -
National Wool Museum
Uniform - 1992 Barcelona Olympic Games Men's shoe, Wendy Powitt, c. 1992
Uniforms for the 1992 Barcelona Olympic Games were designed by Wendy Powitt in conjunction with the AWC. Doug Pleasance, donor of these items, worked for the AWC and closely with Wendy Powitt, obtaining these uniform examples. About the Olympic Uniforms Doug wrote- 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 T D 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.Men's brown leather shoe with a different coloured leather around the upper part of the shoe and laces. Only the right shoe.1992 barcelona olympics, sport, athletes, fashion, design, uniform -
National Wool Museum
Uniform - 1992 Barcelona Olympic Games Uniform Socks, Wendy Powitt, c. 1992
Uniforms for the 1992 Barcelona Olympic Games were designed by Wendy Powitt in conjunction with the AWC. Doug Pleasance, donor of these items, worked for the AWC and closely with Wendy Powitt, obtaining these uniform examples. About the Olympic Uniforms Doug wrote- 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 T D 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.A pair of cream coloured crew length socks in their packaging.On label - " Holeproof COTTON RICH 80% Cotton 20% Nylon covered Lycra" Care instructions on reverse.1992 barcelona olympics, sport, athletes, fashion, design, uniform -
National Wool Museum
Photograph
Photo depicts the interior of the Strachan, Murray & Shannon Limited wool store in Geelong after a record price was reached for the wool shown. This occurred on 24 November, 1920. This photograph was owned by the donor's father, Mr Cyril Cameron. Mr Cyril Cameron came from the family property 'Burnside' near Glenthompson in the Western District. He joined Strachan & Co. as an office boy in Aug. 1914 and then joined the 8th Battalion, 1st AIF in January 1915. He returned to Australia in early 1920 and started work at Strachan's again. He did the wool classing course (one year, evening?) at the Gordon in 1920-21. He became Head Wool Valuer at Strachan's in 1938 and retired in 1970. His office at Strachan's was on the top floor, directly overlooking what is now the entrance to the National Wool Museum (formerly Dennys Lascelles woolstore). He died in 1983. This photo was originally framed together with another similar photo (3122) and a document (3123) detailing the wool sale and prices under the title "Record Sale 24 November 1920". The two photos focus on lot 372, one looking to the north and the other to the west. These three items may have been a requirement of Mr Cameron's wool classing course.Interior of Strachan, Murray & Shannon Ltd, Geelong in Nov. 1920....ORLAME / ... 7 1/2Dstrachan, murray and shannon ltd, cameron, mr cyril -
Tatura Irrigation & Wartime Camps Museum
Book, The Perpetual (income tax) Recorder. No. 5. Agricultural and Pastoral. M Lowry, 1917
Entries of sale of cattle, horses, wool, grain and sheep. Includes receipt to M. Lowry from Vic Producers Co op and final dist. Liquidators payment of wool shares and personal letter to M. Lowry from R. Charles. 1919Cream and red leather linen like hard cover with brass studs on spine. Title on red label, gold letters on front.m. lowry, vic producers coop, r. charles -
National Wool Museum
Book, The Best of the Best
"The Best of the Best". This book is partially a history, partially a promotion for the Italian company Cardingtex of Biella, Italy and its manager Gianni Carpo. This company was one of the first to recognise the significance of the superfine wool produced in the Geelong district and became a major buyer of this wool.fashion textile production wool - superfine, cardingtex, fashion, textile production, wool - superfine -
National Wool Museum
Book, Geelong Woolcombing Ltd: achieving excellence
"Geelong Wool Combing Ltd: achieving excellence" c.1997. Promotional brochure re: the operation of Geelong Wool Combing Ltd and its environmental and quality control systems which have enabled it to achieve ISO 9002 and ISO 14001 standards.wool processing, geelong wool combing ltd, combing -
National Wool Museum
Bale Hook
Bale hooks patented by Peter Roger Hughes. Peter Hughes was a storeman in the Dalgety Wool Store on Western Beach. His company made wool stackers until his death in 1935. These hooks were donated by his son, Harry Hughes.wool stores, hughes patents pty ltd, wool bale clips, hughes, mr peter roger - hughes patents pty ltd