Manual about care and maintenance of shearing machinery produced by the Australian Wool Corporation."Care and Maintenance of Shearing Machinery"shearing machinery, sa; department of agriculture australian wool corporation

Machine knitted, on Dubied knitting machine also donated to the National Wool Museum.Cardigan knitted by Mrs Genitilia Sartori.machine knitting, sartori, mrs genitilia

Wool samples in a range of counts (thicknesses). Probably part of a student of woolclassing's work.RANGE OF COUNTS / 50's - 32's / 50's / 48's / 46's / 44's / 40's / 36's / 32'swoolclassing, wool measurement, wool - measurement

Wool samples in a range of counts (thicknesses). Probably part of a student of woolclassing's work.RANGE OF COUNTS / 80's - 54's / 80s / 70s / 64s / 60s / 58s / 56s / 54swoolclassing, wool measurement, wool - measurement

Reference card with tabular information on wool types and set prices, 1944-45.wool brokering wool sales, wool brokering, wool sales

Used in the Produce Department of Denny Lascelles bluestone wool store for carrying bales

Ready Reckoner used by J and F O'Beirne, Wool and Skin Merchants of LintonBurgundy coloured Ready Reckoner.J and F O'Beirne Linton Oct 20, (19)17wool and skin buyers, o'beirne, office equipment

Used for moving tightly packed items such as full wool bales or Bales of hayObject holds significance as used in farming and Bulk loading supplied by Holden and Frostwooden handle with steel hookhook, farming

Quilt called "Diversions" and made by Barbara Macey in Melbourne in 1985. Barbara Macey is a founding member of the Running Stitch group and its sole remaining member. This quilt was part of a touring exhibition called "Wool Quilts Old and New" presented by Running Stitch, 31 Jan. 1986 to Feb. 1987. It was catalogue entry no. 6. The artist's statement reads: "Being of Scottish descent, I was most interested to discover the Scottish Herringbone quilt, made of pieces of wool tweed, sewn herringbone fashion, to strips of fabric later seamed together to make a quilt. Having a variety of wool fabrics to work with inspired this interpretation of a traditional idea." This quilt was later part of an identically titled exhibition held at the National Wool Museum in 1989."Diversions" by Barbara Macey, 1985.quilting, handicrafts, running stitch group, running stitch collection, masters of technique: creators on cloth - exhibition (15/06/2001 - 22/07/2001) highlights of the national wool museum: from waggas to the wool quilt prize - exhibition (22/09/2001 - 02/12/2001), macey, mrs barbara

Wool specification sheet used by farmers to give hi broker concise details and instructions for sale of whole dip. (About 20 items packaged in Goldsborough Mort envelope and in all likelihood used by the wool grower straight from the package as the need arose). Goldsborough Mort Co. Ltd.wool industry, goldsbrough, mort and company limited

This item was inherited from the donor's father, René Dupuche. John Dupuche, writes: This magnifying glass was used to remove the burrs and thorns that wool-buyers tended to get in their fingers when examining bales of wool. The open end was placed on the finger since the thorn was sometimes buried under the skin. The buyer looked through the magnifying glass and with tweezers or a pin removed the thorn which had rendered the finger inoperative. The wool-buyers needed the sensitivity of their fingers to appraise the suitability of the wool, as buyers had for centuries past, measuring the length of the staple, feeling and counting the crimps in the fibre, its finesse, softness, elasticity and strength, assessing the colour, watching for extraneous matter such as dust or seeds which would not be welcome by manufacturers half-way across the world. Their skills took years to acquire. Knowledgeable buyers were invaluable to their employers, since they were able to evaluate to the last percentage the yield of a bale. My father, René Dupuche, was the ‘principal buyer’ from 1927-1966 in Victoria, South Australia and Tasmania for the international wool company ‘Masurel Fils’ which was one of the largest wool businesses in Europe. It was based in the north of France, in Tourcoing, one of the major wool centres of the world. He was sent to Australia as a young man at the age of 23 and took part in the ‘golden era’ of wool in Australia, and the eventual replacement of hands-on appraisal by ‘core-testing’. Masurel Fils was one of the dozens of French and Belgian firms operating in Australia. These men from Flanders enjoyed a cosmopolitan society augmented by diplomats, European bankers and shipping-line executives for various countries and a handful of scientists and academics.Small black metal magnifying lens with three fold design and two hinges. One panel contains a circular glass lens, the centre panel has a circular hole, and the third panel has a square hole with three lines on each side.wool buyer, magnifying glass, magnifying lens, burrs, rené dupuche, john dupuche, migrants, masurel fils, french, belgian, flanders, working life, sheep industry, wool industry, agriculture

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,

1. Jacket - woollen, red, white collar, long sleeved with white cuffs. Two Rising Sun badges on collars = "AUSTRALIAN COMMONWEALTH MILITARY FORCES". It has epaulettes of same red wool, held with small brass buttons (Aust). It has the rank insignia of a LT.COLONEL. 2. Vest - red wool. Lined with a striped cotton lining. Four miniature brass buttons on lower front. 3. Shirt - cotton. Off white colour. 5 pearl coloured buttons on front, long sleeves. One pocket on breast. 4. Black bow tie with metal clips.post ww2, cmf, passchendaele barracks trust

Refers to the service of Sgt "Anthony Kelynack". 15th Tpt Sqn CMF.1. Khaki Jacket - 4 front pockets. Each pocket held shut with gold button. Epaulettes held shut with brass button. Motif on buttons is - crossed swords, kangaroo and a crown. Cloth Sergeants rank badges each arm. Cloth Australian Arm badge on left shoulder. 2. Khaki Polyester/wool trousers. Zip fly. Two side pockets, one rear pocket. 3. Khaki wool/polyester trousers. Brass belt keepers attached, zip fly, three pockets. 4. Khaki, polyester trousers. Zip fly, three pockets.army, uniforms, anthony kelynack, passchendaele barracks trust

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

The Geelong Handweavers and Spinners Guild Inc. entered "The Afternoon Tea Party" , designed by Val Ingeme, into the "Five Articles" Section of the Melbourne Sheep and Woolcraft Show c.1992. To qualify, the entry needed to be from a group of five people and be able to demonstrate a number of wool crafts in at least five different items. "The Afternoon Tea Party" was loaned to the NWM for display and was subsequently donated in 2003. This piece was designed and made by Val Ingeme from wool blend yarn, the plate mae by Les Clarke from wool.agricultural shows textile art handicrafts knitting, geelong handweavers and spinners guild inc., ingeme, mrs val, agricultural shows, textile art, handicrafts, knitting

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 Member’s Tickets served as proof of Brian’s membership to the Woolclassers’ Association of Australia from 1962 to 1972. The Woolclassers' Association of Australia was a trade union representing Woolclassers in Australia. It amalgamated with the Australian Workers Union in 2009. The Association had 1200 members in 1997. 11 individual-coloured booklets, 10 original and 1 duplicate. The duplicate is from the year 1965/1966 when Brian Licence transferred from being a probationary member of the Woolclassers’ Association of Australia to a full member and hence received a new ticket which reflected this change. Internally, there is no difference in any of the booklets over the 10 years. Externally, there is only a slight change, with the Woolclassers’ Association of Australia's logo being included from 1965/1966 onwards. The booklets are a single piece of card folded at the middle to make 4 pages. The first page gives the name of the association, the year of issue, and in later years the Association's logo. Internally, the booklet provides the location of the Association, the name, address, and signature of who the booklet certifies, and details about the member’s rank, an Overseer, Expert, Full, or Probationary Member. The date and signature of the Secretary of the Association conclude the internal pages. On the rear page, the Head Offices of the Woolclassers’ Association of Australia branches in NSW, Victoria & Tasmania, South Australia, Western Australia, and Queensland are provided. Booklet one is on yellow card with black text and is for the years 1962/1963 Booklet two is on aqua card with black text and is for the years 1963/1964 Booklet three is on blue card with black text and is for the years 1964/1965 Booklet four is on orange card with black text and is for the years 1965/1966 Booklet five is on orange card with black text and is for the years 1966/1967 Booklet six is on red card with black text and is for the years 1967/1968 Booklet seven is on white card with green text and is for the years 1968/1969 Booklet eight is on turquoise card with black text and is for the years 1969/1970 Booklet nine is on cream card with black text and is for the years 1970/1971 Booklet ten is on a lavender card with blue text and is for the years 1971/1972 Booklet eleven is on peach card with black text and is for the years 1972/1973 Multiple. See multimediawool classing, brian licence, woolclassers’ association of australia

Cap, navy blue & brown colour, HMAS Jervis Bay machine embroidered in yellow thread over pale blue embroidered navy ship, Dili Express embroidered in yellow thread below ship.Makers label inside brim: 65% Wool 35% Acrylic Suede One Size Fits All Hand Wash Only Made in Chinauniforms - military - navy, costume - male - headwear, passchendaele barracks trust, hmas

One of a collection of 56 knitting pattern books donated by Mrs Hilma Carruthers. These books had been used by Mrs Carruthers, her mother and her two daughters. This booklet was produced by Lincoln Mills and contains a pattern for a womens cardigan and jumper.Lincoln Trio / knits - 5 ply - 8 ply - 12 ply / No. 56 / 1'6 / LINCOLN KNITTING WOOLS - THE BEST BUY IN ANY PLYhandicrafts - history knitting, lincoln mills (australia) limited, handicrafts - history, knitting

This book was owned by the late Dr Elizabeth Kerr and was donated to the Museum by the executor of her estate, Margaret Cameron. It was produced by Patons and Baldwins and contains knitting patterns for womens garments.No. / 375 / Patons KNITTING BOOK / No. / 375 / "MAYFAIR" - See page 2 / P&B / WOOLS / INTRODUCING / PATONS LUCELLE / FINE PLY / 1'4d.knitting handicrafts - history, patons and baldwins (australia) ltd, knitting, handicrafts - history

This book was produced by Patons and Baldwins and contains knitting patterns for young girls garments.No. 483 / Patons / KNITTING / BOOK / No. 483 / PATONS / FUZZY WUZZY / ANGORA / For Girls / from / 4 to 12 years / P&B / WOOLS / 1'6knitting handicrafts - history, patons and baldwins (australia) ltd, knitting, handicrafts - history

Twenty page book with black and white printed text and graphics. The front cover features an image of a man wearing a vest and tie, with his arm around a puppy on a basket. front: [printed] Patons / KNITTING BOOK NO. 273 / “GRAMPIANS” – See page 10 / P & B / WOOLS / 8d. [handwritten] I D [?] Chambersfashion, women, knitting, crochet, home life, patterns

This was probably used by the Powell family. Selena Powell came from Eden to Orbost at the age of 18. She met and married Henry James Powell in Orbost.This item is an excellent local example of the type of hand made tea cosies which were used in an Australian domestic setting during the 1920's through to the 1960's. Fawn coloured hand-knitted tea cosy. The wool has been brushed to resemble the fur. It has brown button eyes and the nose and mouth are sewn in black yarn. The feet are embroidered in black and it has a narrow green velvet ribbon around the neck.tea-cosy domestic-item tableware handcraft knitting powell-selena

Wing Commander John Downing's RAAF jacket and pants - Blue wool jacket with Wing Commander Epaulets. Australia top of each sleeve embroided RAAF Epaulets with Vietnam ribbon on left chest. (Plain blue trousers with broken fly in Box 1188)john downing, raaf uniform

Worn by a Ruyton Prefect 1942-1943; Joint Editor of The Ruytonian 1942-1943; Vice Captain Bromby House 1942-1943; General and Library Committees 1943; Sports Committees 1942-1943; Captain Hockey and Running 1943.Navy blue wool flannel blazer pocket with Ruyton badge and motto embroidered in gold bullion. Blue and gold Bromby House colour ribbon across the top of the pocket opening. Colours also embroidered in gold bullion for tennis, basketball, hockey and athletics.RECTE ET FIDELITER BBIX HXI ATHSruyton girls' school, kew, school uniform, school prefect, school sports, 1940s, bromby house, blazer, hockey, athletics, embroidery

Certificate awarded to Mr. Charles Wilson Peel for the best sample of Corriedale ewe or wether fleece at the annual show for the Geelong Agricultural and Pastoral Society, 1973. The certificate is undated. Mr Peel owned a superfine merino stud at Gnawarre named Callenondah.Red coloured stiff paper certificate with black printed text and sketches. Black ink handwritten personalised text to C.W. Peel for best corriedale wool sample. Heading at top of certificate above the Australian coat of arms and sketch of horse and cow heads.geelong agricultural and pastoral society, corriedal ewe, wether fleece, charles wilson peel

This battle dress jacket is dated 1969 (manufacturing date). It was issued to the “Prince of Wales’s Light Horse’ Regiment however the date of issue is unknown. A Prince of Wales Light Horse unit was based in Kyneton, a neighboring town to Woodend. This jacket likely originated from the Kyneton area. The jacket type was still in use during the Vietnam war in which the Regiment participated. Considering the condition of the item, it is highly likely the jacket has not seen active serviceThis battle dress jacket is represenative of a stamdard issue Army uniform. it is also in very good condition.Khaki, wool jacket. Prince of Wale's light horse embroidered on a yellow flash, stitched on both shoulders. Cropped style with two pockets on front, four khaki buttons and waist belt. Two epaulets and a manufacturer's label on inside left hand side. battle dress, jacket, trouser, neck tie, lanyard, khaki, wool, fabric, uniform

Colour photograph of Conndly on his horse with packhorse two working dogs and small mob of sheep demonstrating the dogs skills at the Agricultural Show Omeo Victoria 1993. Also two colour photographs of models wearing wool fashions on Doolans truck tray,fires, township

Black and white photograph of John Dyers bullock wagon loaded with wool bales, 10 bullocks and driver behind the railway station at Bairnsdale Victoria. Also another black and white photograph of bullock team plus horse and dismounted rider at unknown location transport, wool industry