Showing 4109 items matching " mill"
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Flagstaff Hill Maritime Museum and VillageContainer - Jug, Late 19th or early 20th Century
The history of metal packaging began in Bohemia in the 1200s. Metal has been produced for a very long time. But the first metal used for packaging was tin. In particular, it was the process of tin plating that was invented in Bohemia. Before this no other metal was economically able to be used for packaging. Later, in 1667 Andrew Yarranton, and English engineer, and Ambrose Crowley brought the method to England. Here it was improved by ironmasters including Philip Foley. Then by 1697, John Hanbury had a rolling mill at Pontypool in South Wales. The method they developed involved rolling iron plates using cylinders. This process enabled more uniform blank plates to be produced than was possible by just hammering the tin.The use of tin to protect and store food and other items, revolutionised the world.Rusty tin jug with small pouring lip and handle. Very plain and possibly made from a jam tin and handle soldered on side.None.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, tin plating, food containers -
Flagstaff Hill Maritime Museum and VillageContainer - Storage Tin, Late 19th or early 20th Century
The history of metal packaging began in Bohemia in the 1200s. Metal has been produced for a very long time. But the first metal used for packaging was tin. In particular, it was the process of tin plating that was invented in Bohemia. Before this no other metal was economically able to be used for packaging. Later, in 1667 Andrew Yarranton, and English engineer, and Ambrose Crowley brought the method to England. Here it was improved by ironmasters including Philip Foley. Then by 1697, John Hanbury had a rolling mill at Pontypool in South Wales. The method they developed involved rolling iron plates using cylinders. This process enabled more uniform blank plates to be produced than was possible by just hammering the tin.The use of tin to protect and store food and other items, revolutionised the world.Container metal cylindrical plain tin with separate lid. Join line on side of cylinder. Very rusty.None.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, tin plating, food containers -
Tatura Irrigation & Wartime Camps MuseumPhotographic plates, : AUSTRAL DRY PLATE, T. Baker & Co., Austral Laboratory, Glass photographic plates, c.1900
Glass photographic plates discovered by Mr. Jack Smith in the ceiling of the weatherboard cottage attached to Williams Bros. Store, cnr. Hogan & Thomson Streets, in 1973. Mr Smith had purchased the Cleckheaton Woolen Mills factory which had been built around the original Williams Store, c. 1960. Gifted to Tatura Museum in 1992 by Jack Smith, 55 Service Street Tatura, 3616. Frank Williams family & house, Tatura.|Baptist hymns.|Goulburn River.|Victorian coastal scenery. Glass photographic plates and prints consisting of:|Members of Francis Williams family.|Williams home, Hogan Street, Tatura.|Hymns from Glass photographic plates. (28 plates and 5 prints) - Photographic prints (3) Possibly members of Francis Williams family,| c. 1900 . Two of the same two men standing in the base of an aged, giant gum tree; one of gig and tied up horse.|PLATES :|Small girl in best frock on cane stool.|* Parents and small girl standing.|* Mr and Mrs Williams sen. standing in front of their home in Hogan Street near Presbyterian Church. Note: the picket fence.|* Wiiliams' daughters on picnic at Goulburn River. c. "Picnic at Hanging Rock" film era.|* Young lady seated on cane chair (High pleated collar and bib on frock)|* Two small sisters - one with elaborate black lace collar on her frock, the other seated on a cane chair, holding her doll. c.1900|* Gaunt aged gum tree with two men standing in V-shaped hole in base, Goulburn River.|* Horse tied to tree beside Goulburn River.|Note: All above items in box marked "Austral Dry Plates".|* 18 glass plates of hymns from Baptist hymn book.|Note: The Williams family were devout Baptists.|* Plate of rugged coastline ? Great Ocean Way Victoria?|* Plate of rock stacks - ? " London bridge and smaller bridge.|* (3) Prints of the two rock bridges in the ocean off shore.photography, photograph, slides, film -
Stawell Historical Society IncPhotograph - Streetscape, Bullock Team with load of Wattle Bark c1910 In front of Cornish's Boarding House
Bullock Team with load of Wattle Bark in front of Cornish's Victorian Boarding House. Corner of Napier& Victoria Streets. Photograph taken in Napier Street, Stawell c1910. Inscriptions on the back of the photo state W. Dunn is standing beside the bullock team but records imply that its Jack Williams with his bullock team. Stan Wathem is holding the bike and standing beside the wagon. Wattle bark was used at Wenl's Bark Mills Stawell. The photograph belongs to Mrs. Dorrie Pickering - loaned for copying. The boarding house on corner of Victoria & Napier St. Obit. Mrs. Fanny Cornish formerly Manuel nee Bass, Stawell News 20.6.1931. Black & white photograph of a scene depicting a bullock team and wagon loaded with Wattle bark. Stawell. Two men standing near the bullock team, one holding a a long stick, the other on a bike. The building behind the bullock team is Cornish's Victoria's Boarding House. Also a large double story barn at the back of the wagon, c1910. In the file are two other black and white photographs of the same image.c1910. Napier St. Corner of Napier & Victoria Streets Stan Wathem (Bike) W. Dunn with team loaded with Wattle bark. Jack Williams? There is a stamp on the photograph board, but hard to read "A. __Ewin Photographer Tals__melb" stawell -
Bacchus Marsh & District Historical SocietyMap, Plan of Land at Bacchus Marsh, the Property of James Young, 1868
James Young was a prominent businessman, land owner and public figure in the early colonial period of Bacchus Marsh. In February 1868 he offered for sale through the agent W. Anderson 38 blocks of land which ran from the Lerderderg RIver westwards beyond Gisborne Road in the vicinity of the present day Masons Land. The land for sale was described as, 'unsurpassed Agricultural Land, in the immediate vicinity of Bacchus Marsh, varying in size from 2 to 12 acres each'. The sale notice in the Bacchus Marsh Express of 1st February 1868 page 2, also noted that, ' Plans can be seen at Mr. Young's Border Mills Store, and at the Border Inn'. One of the largest and most important land sales in the early colonial period of Bacchus Marsh.A single page paper map showing 38 blocks of land for sale in 1868 in the vicinity of Masons Lane Bacchus Marsh. Scale 11 chains to 1 inch. The map is pasted into a bound volume containing 76 maps or plans in total. High resolution digital image stored on BMDHS computer network. land sales bacchus marsh, bacchus marsh victoria maps, james young 1816-1871, masons lane bacchus marsh land sales -
Brunswick Community History GroupPhotograph - Photograph of laying the foundation stone at the Holeproof factory, James Scullin laying the foundation stone at the Holeproof factoty, 1930
A slightly singed black and white photograph of the laying of the foundation stone at the Holeproof factory in Dods St., Brunswick in January 1930. Identified in a (contemporary) typed label as '…[James S]cullin Prime Minister laying Foundation Holeproof. Brunswick.' James Scullin, Prime Minister from 1929-32 is in the foreground looking left. The first hosiery mill began on the site in 1924 as Staley and Staley Ltd, run by Andrew Grey Staley and his uncle Dan Staley. Holeproof stopped production in 2009/10 and by 2013 the site had been converted into an apartment complex. Part of the Dollman Collection. Added to VC 21 June 2025 EJPhotographholeproof, james scullin -
Orbost & District Historical Societyblack and white photograph, late 19th - early 20th century
this is a photograph taken at the original jetty at Tabbara on the Brodribb River used by Samuel Richardson who established his mill in 1882. There was a constant demand for timber to supply the growing townships of Orbost , Marlo and surrounds. It was at this mill that the original paddle steamer Curlip was built. More information in "Curlip" by May Leatch. Helena Warrem (1871-1962) was a self-taught photographer who became both the local press correspondent and a producer of humorous trompe l'oeil postcard images. Helena Warren was a thirty-two year old settler living on a small mixed farm with her husband, William, at Newmerella, near Orbost in Gippsland, Victoria, when she bought her first camera, an Austral Box quarter-plate. Her family says she was entirely self-taught, like many women photographers who started out with nothing but the instructions on the packets of film and chemicals. In over fifty years practice she graduated from the total novice, who opened all her first mail order plates in bright sunlight and ruined them, to a competent photographer who became both the local press correspondent and an inveterate producer of humorous trompe l’oeil postcard images. Helena Francis Warren (nee McKeown) was married to William John Warren and lived in Newmerella. She supplied the photos for the Back-To-Orbost celebration book in 1937 and also designed the Back-To-Orbost badge. She was known for her soft toy making. (by Ivy Rodwell in from Personalities and Stories of the Early Orbost District by Mary Gilbert).This photograph is a pictorial record of a typical family activity in the late 19th - early 20th century in the Orbost area, The clothing and manners are reflective of that time, This photograph also has significance in its association with Helen Frances Warren, a popular Orbost identity who was well known as an accomplished photographer and needleworker,A black / white photograph of a family group seated on a wooden jetty. There is a man on the right with a fishing rod. A man is standing next to woman holding a teapot and cup and saucer. On the left a woman is sitting and holding a baby on her knee. The rest are sitting or kneeling with a picnic cloth spread in front of them. There are bottles, jars, plates and cups on the cloth. on back - "The Warren Family Tabara Jetty"tabbara-jetty warren-family-orbost recreation-picnic -
Puffing Billy RailwayRailway Mine and Plantation (RMP) 0-6-0 Diesel Mechanical Locomotive 2' Gauge - "LI'L TOOT", 1951
Builders Number 3354 Build for Inkerman Mill Queensland in 1951 Displayed at the British Industrial Fair at Castle Bromwich, England 1951 prior to delivery to Australia Weight: 10 Tons Known at Inkerman mill as "LI'L TOOT" Major Ernest E. Baguley (1863–1948) was a British engineer.- In the years leading up to the First World War, Baguley served in the Territorial Army and became Second-in-Command, 6th Battalion, North Staffordshire Regiment, rising to the rank of Major. He served in France from 1914 to 1915. Baguley (Engineers) Ltd After the War there was a decline in the production of road vehicles (probably due to competition from other manufacturers) and an increase in the production of railway equipment. The name of the company was changed from Baguley Cars Ltd to Baguley (Engineers) Ltd on 10 April 1923. Following a dispute with their partners Drewry Cars. Ltd, Baguley (Engineers) Ltd went into decline and entered liquidation in 1931. Most of the plant and effects, including Major Baguley's own Baguley car, were sold at auction on 10 November 1931. E. E. Baguley Ltd Major Baguley was a great survivor of WW1 and, he set up a small repair business for Baguley products at Clarence Street, Burton-on-Trent. A new company, E. E. Baguley Ltd, was registered on 30 April 1932 and was soon building locomotives again. In 1934 E. E. Baguley Ltd moved to larger premises at Uxbridge Street, Burton-on-Trent. The company merged with Drewry to form Baguley-Drewry Ltd in 1962.Historic - Industrial Narrow Gauge Railway Diesel Mechanical Locomotive - Pioneer Sugar Mills - Inkerman Sugar Mill, Home Hill, Queensland, AustraliaRail Mine and Plantation (RMP) 0-6-0 Diesel Mechanical 2' Gauge - " LI'L TOOT " Builders Number 3354 Steel (Painted)RMP / 3354 "LI'L TOOT"rmp, diesel, mechanical, locomotive, 2', 2' gauge, puffing billy, inkerman, li'l toot, industrial narrow gauge railway, e. e. baguley ltd, pioneer sugar mills - inkerman sugar mill, rail mine and plantation (rmp) -
Surrey Hills Historical Society CollectionPhotograph, Dr John Willmott Bennett
John was the eldest son of Dr Jack (Frederick John) and Mrs Doris Bennett (nee Willmott). His paternal grandfather, John Henry Bennett, was also a doctor who practiced in St Arnaud and Hawthorn. John was born in Melbourne on 23 October 1924 and attended Scotch College for his early education. The family moved to England shortly before WW2 and he completed his schooling at Mill Hill in Uxbridge (and at St Bees School in Cumberland to which Mill Hill was evacuated). He entered St Bartholomew's Hospital Medical College in 1946. He married Christina Hudson in Cambridge in 1946 and they followed the rest of the family back to Australia in 1948. John was Resident Medical Officer at the Repatriation Hospital in Heidelberg from 1948-1953. He was an Honorary Clinical Assistant at the Royal Melbourne Hospital from 1950-1965 and became a member of the Royal Australasian College of Physicians in 1953. He joined Drs W Langley Carrington, William (Bill) Vorath and Norman Rose at the Surrey Hills Medical Centre in 1953. He lived in Camberwell and had 2 sons and 1 daughter; one son also qualified as a doctor, working in Hobart. His brother Robert, a radiologist, lived in Mont Albert and one of his 4 daughters, Dr Penny Bennett, also worked at Surrey Hills Medical Centre at a later period. Ref: Article in Chiron - Medical Genes: The Bennett Family written by Dr WRC (Robert) Bennett, 1989. The donor was a niece of John Bennett.The Surrey Hills Medical Centre was one of the first, if not the first, general practice to include specialists as partners soon after WW2. Black and white formal head and shoulders photo of Dr John Willmott Bennett who was a general practitioner in the 1950s and 1960s at the Surrey Hills Medical Centre. doctors, surrey hills medical centre, dr john willmott bennett -
Wodonga & District Historical Society IncPhotograph - Dunstan & Son, Wodonga
Mr Arthur Dunstan established a sawmill at Glen Wills in 1931 which operated for about 16 years. A larger and more modern sawmill with drying kilns was erected at Eskdale in 1947. He was contracted to build Wodonga’s municipal saleyards in 1935, followed by the Wangaratta saleyards which created so many forward orders that he bought a large block of land on the corner of Beechworth and Tallangatta Roads and opened a timber mill and hardware store. In 1974 other sawmills opened in Tallangatta Road near Chapple Street to cope with the expanding business. A large proportion of the company’s timber output was processed at the Wodonga yards into flooring, weatherboards, mouldings, and practically the whole output was distributed locally and throughout the Riverina and eastern freeboard of New South Wales, and Canberra. At its peak Dunstan’s was one of the biggest sawmilling businesses in Victoria and in Wodonga employed 150 people and milled 16,000,000 super feet of timber annually. Arthur Dunstan died in 1963 and the business was carried on by his sons Arthur Jr, Jack and Les, together with Reg McDermott and Neil Carr. Dunstan’s timber yards in Wodonga were sold to Ezard Industries in 1987 with the retail section being bought by BBC Hardware. Hardy’s took over the timber yard in 1989 and staff was gradually reduced to 51 by 1991. Processing fell to 1000-1200 tonnes of pine a month by 1992 and Hardy’s, by then part of Pacific Dunlop, finally closed operations in that year with the loss of the remaining 27 jobs. The area where Dunstan’s was located is now known as Southside.A black and white photo of a retail buildinga and workshopOn shopfront: DUNSTAN A & SONS HARDWARE JOINERY & TIMBER MERCHANTS RICKSHAW MAGICOLOR We stock and recommend HARDIES FIBROLITE SHERWIN WILLIAMS PAINT FINISHESdunstan's hardware wodonga, wodonga businesses, dunstan's timber -
Port of EchucaFunctional object - Paddlesteamer, George Linklater, P.S. Adelaide, 1866
Built in 1866 in Echuca, the PS Adelaide is the oldest wooden hulled paddle steamer still operating as a passenger vessel in the world. Engines made in Melbourne by Fulton and Shaw. JG Grassie was the original owner who was looking for a wool carrying boat as a commercial venture with the arrival of the rail at the Port of Echuca making the future look bright. Seutonius and Charles Officer of Murray Downs Station joined Grassie in financing the venture and they used the boat for 6 years before David Blair and partners (Echuca sawmillers) bought the Adelaide in July of 1872 and she began her long working life as a logging boat providing a shuttle service between the forests around Barmah and the mill, usually towing up to 3 or 4 barges. The paddle boxes were rebuilt from round to a square configuration in approximately 1924 by Charles Felshaw, local Echuca shipwright. The Adelaide had unusual strength for her size. Her career ended in the mid 1950s where she lay idle tied up near the mill at Echuca wharf. For a short time she was sold to Mildura but fortunately the Apex Club raised funds to buy her back to be a reminder of the riverboat days at the Port. She was lifted out for safekeeping into Hopwood Gardens where she remained on show for nearly 25 years. After restoration by Port shipwright Keven Hutchinson OAM, she returned to the waters of the Murray River on Sunday March 4th 1984 at 5.20pm. After further restoration, in 1985 the Prince and Princess of Wales re-commissioned PS ADELAIDE in a ceremony on their tour of the region. The world's oldest wooden hulled paddle steamer still operating as a passenger vessel today built in Echuca in 1866. It is often considered the flagship of the operational fleet of the Port of Echuca given its age and known provenance to Echuca. The Adelaide is an iconic symbol of the riverboat timber and cargo trade that worked on the Murray River from the mid 1800s. Remarkably, PS ADELAIDE still operates with its original Fulton and Shaw engines.Composite hull, side wheeler with two single cylinder steam engines, producing a total of 36hp. Currently cream and burgundy moored at the Echuca Wharf. 49 passenger capacity.P.S. Adelaide signage on wheelhouse and port and starboard bow.p.s. adelaide, paddle steamers, echuca boat builders, charles felshaw -
Federation University Historical CollectionPostcard Booklet, Souvenir de Neuve-Englise - 12 Vues du Bombardement, 1917
Views of places before and after bombardment during World War One.Small cream covered postcard booklet containing 12 postcards. The cover has red printing on the front. Tissue separates each individual postcard. The views shows scenes after the Bombardment of august 1916Front cover: In red print with border down LHS - Souvenir de NEUVE-ENGLISE 12 vues du bombardement "1917" in red print on top right hand corner Verso individual postcards: "Carte Postale" at top Correspondence (LHS top) and Adresse (RHS top) separated by a line in the middle of page LHS bottom corner "Vise Paris 850. Names of scenes on each postcard.postcard, 1917, views, wwi, world war one, first world war, 1st ww, 1916, bombarded church, steenwerck street, ypres, old council house, estaminet de la tete d'argent, "welcome" public house, boarding school for girls, la chapelle, rue de bailleul, bailleul, moulin, windmill, route de dranoutre, mill, brasserie "glorie" au borg, "glorie", brewery, carte postale, postcard, 1917, views, wwi, world war one, first world war, 1st ww, 1916, bombarded church, steenwerck street, ypres, old council house, estaminet de la tete d'argent, "welcome" public house, boarding school for girls, la chapelle, rue de bailleul, bailleul, moulin, windmill, route de dranoutre, mill, brasserie "glorie" au borg, "glorie", brewery, carte postale -
Warrnambool and District Historical Society Inc.Functional object - Hospital window, Ernie Harris, Warrnambool builder, 1938
This window was removed from the Marcus Saltau House building in the Warrnambool and District Base Hospital when the building was demolished in 2009. Marcus Saltau House was erected in 1938 to provide for intermediate, private and midwifery patients. The builder was Ernie Harris of Warrnambool. The building commemorated the work of Marcus Saltau who was on the Warrnambool Hospital committee for over forty years and the President of that committee for thirty years. Marcus Saltau (1869-1945) was a Warrnambool produce merchant and politician involved in many Warrnambool ventures, including the establishment and development of the Warrnambool Woollen Mill and the Nestles Milk Factory at Dennington. The Jean Buick Saltau Maternity Ward at the Warrnambool Hospital was established by Marcus Saltau in 1928 in memory of his first wife. This window is retained as a memento of a significant building in Warrnambool that no longer exists.This is a circular window with four triangular panels of glass contained within a white painted ridged wood frame.marcus saltau house warrnambool, marcus saltau, ernie harris warrnambool, jean buick saltau maternity ward, warrnambool woollen mill -
Flagstaff Hill Maritime Museum and VillageContainer - Cocoa Tin, First half of 20th Century
The history of metal packaging began in Bohemia in the 1200s. Metal has been produced for a very long time. But the first metal used for packaging was tin. In particular, it was the process of tin plating that was invented in Bohemia. Before this no other metal was economically able to be used for packaging. Later, in 1667 Andrew Yarranton, and English engineer, and Ambrose Crowley brought the method to England. Here it was improved by ironmasters including Philip Foley. Then by 1697, John Hanbury had a rolling mill at Pontypool in South Wales. The method they developed involved rolling iron plates using cylinders. This process enabled more uniform blank plates to be produced than was possible by just hammering the tin. https://www.shilohplastics.com.au/history-of-metal-packaging/The use of tin to protect and store food and other items, revolutionised the world.Tin base and external tin lid, with round internal lid .Colour printed. Used for cocoa. Caption of a woman drinking cocoa, red Australian flag and British flag on other faces. Top embossed "H". Marked - "Old Dutch Cocoa", "Net Weight 8 ozs," (Display side) "Manufactured by Hoadley's Chocolates Ltd, Australia.Top embossed "H". Marked - "Old Dutch Cocoa", "Net Weight 8 ozs," "Manufactured by Hoadley's Chocolates Ltd, Australia.warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, shipwrecked-artefact, tin, tin plating, food containers -
Flagstaff Hill Maritime Museum and VillageContainer - Tea Tin, First half of 20th Century
The history of metal packaging began in Bohemia in the 1200s. Metal has been produced for a very long time. But the first metal used for packaging was tin. In particular, it was the process of tin plating that was invented in Bohemia. Before this no other metal was economically able to be used for packaging. Later, in 1667 Andrew Yarranton, and English engineer, and Ambrose Crowley brought the method to England. Here it was improved by ironmasters including Philip Foley. Then by 1697, John Hanbury had a rolling mill at Pontypool in South Wales. The method they developed involved rolling iron plates using cylinders. This process enabled more uniform blank plates to be produced than was possible by just hammering the tin. https://www.shilohplastics.com.au/history-of-metal-packaging/The use of tin to protect and store food and other items, revolutionised the world.Tin container painted yellow with printed crosses and circles,. The lid is labelled "Robur Cross Stitch Company" and "R" imprinted in the centre although the lid is badly corroded. ‘Cross – Stitch’ (printed green in small crosses and circles) followed by ‘Nett Weight ¾ lb. (printed beige in crosses and circles). Pure Blended Tea. Robur Tea Co Ltd’ flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, robur tea co ltd, tea, tea caddy, tin, tin plating, food containers -
National Wool MuseumTextile - Blanket, Challenge Woollen Mills, Clan Murray series of Challenge, c1950s
Collector says - "Once I had gathered a dozen or so blankets, I started noticing the many different labels; where they were made, by who, the logos and fonts used. Then the labels became a thing, then the blankets had to have a label to join the collection. My favourite labels are by Physician, they had at least 4 different labels over the decades but the best has to be the Lady In Bed logo. Physician, Onkaparinga, Eagley and others matched the colour of the label to the colour of the blanket - a nice touch. Strangely, Castlemaine labels were always sewn on the back of the blanket where all the other mills sewed theirs on the front. To this day I always roll or fold a blanket with its label on display." " 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." Checked blanket, pink, blue and lavenderClan Murray series of Challenge/Lambswool 'Perma-nap' blankets/All pure wool/Super Grade blanket, blanket fever, wool, challenge woollen mills -
National Wool MuseumTextile - Blanket, Eagley Woollen Mills, 1960s
Note from collector: Once I had gathered a dozen or so blankets, I started noticing the many different labels; where they were made, by who, the logos and fonts used. Then the labels became a thing, then the blankets had to have a label to join the collection. My favourite labels are by Physician, they had at least 4 different labels over the decades but the best has to be the Lady In Bed logo. Physician, Onkaparinga, Eagley and others matched the colour of the label to the colour of the blanket - a nice touch. Strangely, Castlemaine labels were always sewn on the back of the blanket where all the other mills sewed theirs on the front. To this day I always roll or fold a blanket with its label on display.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. " Queen sized brown, green and blue checked blanketEagley Blanket, Pure Woolblanket, blanket fever, wool, eagley woollen mills, victoria -
National Wool MuseumTextile - Blanket, Gibsonia Mills, 1950s
Note from collector: Once I had gathered a dozen or so blankets, I started noticing the many different labels; where they were made, by who, the logos and fonts used. Then the labels became a thing, then the blankets had to have a label to join the collection. My favourite labels are by Physician, they had at least 4 different labels over the decades but the best has to be the Lady In Bed logo. Physician, Onkaparinga, Eagley and others matched the colour of the label to the colour of the blanket - a nice touch. Strangely, Castlemaine labels were always sewn on the back of the blanket where all the other mills sewed theirs on the front. To this day I always roll or fold a blanket with its label on display.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." Queen-Sized plaid blanket, brown, lemon, tan and mint100% Pure Lambswool/Gibsonia/Exclusive To All Foy and Gibson Ltd. Stores/Famous Since 1868blanket, wool, blanket fever, gibsonia, foy and gibson ltd -
National Wool MuseumTextile - Blanket, Laconia Woollen Mills, 1960s
Collector says: Once I had gathered a dozen or so blankets, I started noticing the many different labels; where they were made, by who, the logos and fonts used. Then the labels became a thing, then the blankets had to have a label to join the collection. My favourite labels are by Physician, they had at least 4 different labels over the decades but the best has to be the Lady In Bed logo. Physician, Onkaparinga, Eagley and others matched the colour of the label to the colour of the blanket - a nice touch. Strangely, Castlemaine labels were always sewn on the back of the blanket where all the other mills sewed theirs on the front. To this day I always roll or fold a blanket with its label on display.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." Queen sized checked blanket, aqua and orange Laconia/Make "Goodnight" a Certainty/Pure Lambswool/Made in Australia wool, blanket, blanket fever, laconia -
National Wool MuseumTextile - Blanket, 1960s
Collector says: Once I had gathered a dozen or so blankets, I started noticing the many different labels; where they were made, by who, the logos and fonts used. Then the labels became a thing, then the blankets had to have a label to join the collection. My favourite labels are by Physician, they had at least 4 different labels over the decades but the best has to be the Lady In Bed logo. Physician, Onkaparinga, Eagley and others matched the colour of the label to the colour of the blanket - a nice touch. Strangely, Castlemaine labels were always sewn on the back of the blanket where all the other mills sewed theirs on the front. To this day I always roll or fold a blanket with its label on display.Collector's note: "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."Queen sized checked blanket in corn, beige and green 'Mareeno' /Pure Australian Wool/Export Quality/Made in Australiawool, blanket, blanket fever, mareeno -
National Wool MuseumTextile - Blanket, Myer stores
Collector says: "Once I had gathered a dozen or so blankets, I started noticing the many different labels; where they were made, by who, the logos and fonts used. Then the labels became a thing, then the blankets had to have a label to join the collection. My favourite labels are by Physician, they had at least 4 different labels over the decades but the best has to be the Lady In Bed logo. Physician, Onkaparinga, Eagley and others matched the colour of the label to the colour of the blanket - a nice touch. Strangely, Castlemaine labels were always sewn on the back of the blanket where all the other mills sewed theirs on the front. To this day I always roll or fold a blanket with its label on display."Collector's note: "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."Queen sized Checked blanket, lemon, tan and greenMyrall/Pure Wool/Myer's Own Brand/Made in Australiawool, blanket, blanket fever, myer -
National Wool MuseumTextile - Blanket, Myer stores, 1950s
Collector says: "Once I had gathered a dozen or so blankets, I started noticing the many different labels; where they were made, by who, the logos and fonts used. Then the labels became a thing, then the blankets had to have a label to join the collection. My favourite labels are by Physician, they had at least 4 different labels over the decades but the best has to be the Lady In Bed logo. Physician, Onkaparinga, Eagley and others matched the colour of the label to the colour of the blanket - a nice touch. Strangely, Castlemaine labels were always sewn on the back of the blanket where all the other mills sewed theirs on the front. To this day I always roll or fold a blanket with its label on display."Collector's note: "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. King sized checked blanket, pinks and grey Myrest/Super Lambswool/Made in Australia/Expressly for the Myer Emporium Ltd.wool, blanket, blanket fever, myer -
National Wool MuseumTextile - Blanket, Myer stores
Collector says: Once I had gathered a dozen or so blankets, I started noticing the many different labels; where they were made, by who, the logos and fonts used. Then the labels became a thing, then the blankets had to have a label to join the collection. My favourite labels are by Physician, they had at least 4 different labels over the decades but the best has to be the Lady In Bed logo. Physician, Onkaparinga, Eagley and others matched the colour of the label to the colour of the blanket - a nice touch. Strangely, Castlemaine labels were always sewn on the back of the blanket where all the other mills sewed theirs on the front. To this day I always roll or fold a blanket with its label on display."Collector's note: "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."Double sized checked blanket , khaki, cream and green Royal Slumber/Woolmark Emblem/Pure New Woolwool, blanket, blanket fever, royal slumber -
National Wool MuseumTextile - Blanket, 1950s
Collector says: "Once I had gathered a dozen or so blankets, I started noticing the many different labels; where they were made, by who, the logos and fonts used. Then the labels became a thing, then the blankets had to have a label to join the collection. My favourite labels are by Physician, they had at least 4 different labels over the decades but the best has to be the Lady In Bed logo. Physician, Onkaparinga, Eagley and others matched the colour of the label to the colour of the blanket - a nice touch. Strangely, Castlemaine labels were always sewn on the back of the blanket where all the other mills sewed theirs on the front. To this day I always roll or fold a blanket with its label on display."Collector's note: "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."Queen sized checked blanket in apple, pink and lemonIn emblem: V/Viscount/Super Quality All Wool/Made in Australiawool, blanket, blanket fever, viscount -
National Wool MuseumTextile - Blanket, Waverley Woollen Mills, 1950s
Collector says: Once I had gathered a dozen or so blankets, I started noticing the many different labels; where they were made, by who, the logos and fonts used. Then the labels became a thing, then the blankets had to have a label to join the collection. My favourite labels are by Physician, they had at least 4 different labels over the decades but the best has to be the Lady In Bed logo. Physician, Onkaparinga, Eagley and others matched the colour of the label to the colour of the blanket - a nice touch. Strangely, Castlemaine labels were always sewn on the back of the blanket where all the other mills sewed theirs on the front. To this day I always roll or fold a blanket with its label on display.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." Queen sized checked blanket, pink, grey and lemonThe Celebrated Waverley Blanket/100% Pure Wool/"The Best for Rest"/Made in Australiawool, blanket, blanket fever, waverley -
RMIT Design ArchivesPhotograph - Photographs
This photograph commemorates a visit by American Fashion Models to Prestige Textile Studio in July 1950. Melbourne’s Myer Emporium in conjunction with Neiman Marcus, Dallas, Texas presented the first American Fashion Parades in Australia in July 1950. Ruth Hancock, the leading model and buyer for Neiman Marcus, directed the Parades, and the eighteen year old modelling prodigy, Carmen dell’ Orefice, described by Cecil Beaton as ‘the world’s most beautiful woman’ was one of the stars of the runway. In a bid to encourage a market for Australian textiles in the United States, the models visited textile manufacturers and design studios in Melbourne, such as Yarra Falls Mills and Prestige Studios, one of Melbourne’s premier textile design studio. Ann Carew, 2020This photograph is historically significant for its association with Prestige Textile Studio, and it's association with the Australian Textile Industry. It highlights the role that Myer Melbourne played in promoting the Textile Design Industry and Australian Fashion to the United States of America.Black and white photograph of 8 models from the US, laying on the floor of the Prestige Studios. Names of the various models have been drawn on the floor from the foreground to the background of the photo, with eagles and stars in between each name.Models pictured include Ruth Hancock, Carmen Dell'Orefice, and Margaret Edwards.USA MODELS / VISITING AUSTRALIA carmen dell' orefice, prestige textile studio, ruth hancock, margaret edwards, fashion, rmit design archives, models, usa -
Stawell Historical Society IncPhotograph, Bennet family home 51 Smith Street Stawell with cars parked in front c.1943
Bennet family home 51 Smith Street with two cars parked in front. First church of England is just visible in background. Lady on left is Jessica Bennett. Young lad leaning on mudguard Graeme Bennett born 1933 later mayor of Stawell. The lady at center is Margaret Bennett. and gentleman with hat is John Bennett Senior, original owner of North Western Woolem Mills. Photo taken outside john Bennetts home in smith street with no kerb or nature strip, looking towards Seaby Street. Note the canvas Water bags on front of one car to keep water cool. John Bennet Sen born in 1895 in Yorkshire. his wife Jessie Brown married in Warrnambool.Two 1940's cars parked with a group of people posing for photo.stawell industry -
National Wool MuseumFunctional object - Yarn Spinner and Accessories, John Nesbitt, 19th Century
Nino Corda was a Geelong based textile designer who worked at various textile mills between 1957 & 2003. He travelled the world in search of the latest fashions and techniques and developed timeless designs that were much loved by Australians. These items are on rotational display at the National Wool Museum’s ‘In the Factory’ exhibition. For many years, Nino also worked as part of the Honorary Staff of the National Wool Museum. His passion for the world of textiles provided energy and knowledge to the visitors and staff of the museum. Although Nino has now retired from his honorary position and has hung up his Australian Tartan vest, these items will continue to serve the community in sharing the stories of Australian Textile design.Custom made wooden hinged box with a hook latch. Brass yarn spinner, attached to a mahogany wood plinth base, which spins fibre into cord/yarn/thread. It has dials to set the rate that it spins. Metal plaque with black inlaid enamel lettering. Small cork inlay. Brass rod with hinge and wingnut, and ball at end. Ball at end has an adjustment mechanism. Rod also has an adjustable circular collar. Pair of curved tweezers. Circular magnifying glass on long thin handle. Glass has two concave lenses. Weaving sample in shades of blue, green and brown. Twill weave. Alternate pattern samples separated by red thread.Brass plaque on base of spinner: 42 MARKET St / John Nesbitt / REGd TRADE MARK / LIMd / MANCHESTER Underside of wooden plinth: 4976apparatus, textile, testing, spinning, nino corda, magnifyer, tools, brass, mahogany, tweezers, yarn, spinner, design, john nesbitt, manchester, england, 19th century, engineering, manufacturing -
Port of EchucaFunctional object - Insider Barge, Ada, 1899
The Ada is a barge made of a composite of wood and iron. it was built at Echuca in 1899 to carry wool and cargo from station properties on the Murray and Murrumbidgee rivers to the Port of Echuca . It was towed along the river by paddle steamers, mainly The PS Pevensey. The Ada could carry 350 tons of cargo and was originally owned by The Permewan and Wright, Murray Shipping Co. In the late 1930s she was bought by the Evans Brothers' Red Gum Sawmill. Two bulkheads were removed to enable the logs, to be placed inside and transported to the mills. Road transport overtook the use of the river barges, and The Ada was left abandoned on the banks of the Murray River opposite the sawmill until it was purchased by the Port of Echuca in 1974 and refloated in 1979.A barge with a composite hull of steel and timber which was built in 1898ADA signage on port and starboard bow -
Bendigo Historical Society Inc.
Document - BROADCASTING STATION 3CV, MARYBOROUGH, 2 March, 1956
Broadcasting Station 3CV, Maryborough. A souvenir of the opening of the New Studios and Offices of Central Victoria Broadcasters Pty Ltd. March 2nd, 1956. Established 1956, offices in Burke Street, opening coincides with the stations 21st birthday, March 2 for the former celebration, October 26 for the latter. Coverage included Bendigo, Ballarat, Daylesford, Castlemaine and Maryborough. 3CV plays active part in assisting charities and hospitals at Maryborough, Daylesford, Maldon and Dunolly. Active Women's Radio Club with branches in country centres adds strength to station's charitable efforts. Opening 3CV's new premises will widen the scope of the station's charitable efforts, and stronger link with Australian Commercial Broadcasting stations. Writer Harold V Nunn writes history of district of Mayborough. Manager Ken J Parker, Central Victoria Broadcasters Pty. Ltd. The Souvenir brochure also covers topics such as: deep lead mining. WWI. Houses being pulled down. New settlements of Mildura. Secondary Industries. Bowenvale, Alma, Majorca, Craigie, Amherst, Adelaide Lead, Havelock, Bet Bet, Bently. Primary production and a railway staff of approximately 150. Maryborough a little town without a future. Coal fields at Wonthaggi. 1917 a public meeting was convened in an effort to stem the tide of adversity. Mayor George Frost, M.L.A., decision to form a Progress Association, a policy of secondary industry was decided upon and committees were appointed, James L Drew much credit is due. Maryborough's move for rejuvenation was revolutionary, because apart from Ballarat, Bendigo and Geelong, it was regarded as so much presumption that industry could be expected to function with success in a country town. Governments were unsympathetic. Maryborough & district people showed determination to succeed and their faith in their town. Employment and economic security provided by the industries outweighed the debt. Maryborough's general position is that it is no longer dependent upon one particular phase of activity. The first of the industries to be formed in 1918 was the Butter Factory. The nearer dairy companies did not take kindly to the prospect of another opposition company taking supplies from their districts, and in the first few years of establishment completion made the going hard for the management. But adopting a conservative policy and placing all profits to reserve I the first six years of operation headway was gradually made. Thus it was a red letter day for the company in 1925 when the first dividend of 5 percent was paid.1955 dividend of 10 per cent. Operating it's own trucks the dairy serviced local dairymen up to 40 miles. Maryborough Knitting mills est. 1923, having transferred from Clunes. Out bid Ballarat and Bendigo to the industry. The mill has what is probably the largest circular underwear plant in the Commonwealth, which is conservatively valued at 198,913 pounds. It produces between four and five million garments each year, worth over one million pounds. The company has established subsidiary mills at Dunolly, Talbot and Avoca. The company also assisted in the establishment of the Interknit Hosiery Co. Ltd., Clunes. The Maryborough Flour Mills is the second oldest of Mayborough's industries. It was built by Mr Cadwallader over 70 years ago. It was later sold to Mr. A Land and then to Jas. Minifie & Co. It had a somewhat 'in-and -out' existence until purchased in 1923 by Messrs. Willersdorf and Forbes, of Eddington. In 1939 the firm began to build silos for the storage of bulk wheat and the present storage capacity is 100,000 bushels. 1944 power was changed from steam to electricity. The mill has an out put of 20 sacks an hour. 1938 a chaff mill was built, and now is regarded as one of the best in Victoria. Its output in one year of approximately 6,800 tons is a State record for a single cutter. During this 30 year period Patience and Nicholson Limited has grown with Maryborough and is now one of the major key industries of Australia. The P&N brand covers precision tools - taps, dies and twist drills - indispensable to the country's economy, and quality is acknowledged equally by an air craft factory in Canada, a dockyard in Thailand, a railway workshop in New Zealand, no less than by our own Australian industries. Maryborough can be proud of the part played by P&N in war when, geared to the needs of the times, it poured countless millions of tools into defence factories and to the armed forces of the Allies, and now in peace when it is providing, hydro-electric undertakings and the manufacture of cars and tractors. From 1858, W Phelan & Sons Pty Ltd has made phenomenal and spectacular growth, becoming incorporated as a private company in 1929. It is without doubt the greatest private development in the history of Maryborough. 1940 joinery manufacture was commenced. The company entered the Ready Built Housing field in `950 - and in 1951 established a factory at Cairns, Northern Queensland to overcome the manufacturing difficulties being experienced due to the shortage of plywood in Victoria. Present activities include: Ready Built Housing Factory, on-site building, a modern joinery, timber yard, drying kilns, etc., and plumbing & electrical & engineering services, a door and panel factory at Cairns, retail hardware store, Melbourne Sales Depot. Hedges & Bell Pty Ltd were est 1945, with a staff of 40 employees are the largest printing firm outside the metropolitan area. The branch of Premier Wireworks is a contribution made by the decentralisation policy of the State.event, official, celebration, broadcasting station 3cv, maryborough. a souvenir of the opening of the new studios and offices of central victoria broadcasters pty ltd. march 2nd, 1956. established 1956, offices in burke street, 21st birthday. coverage bendigo, ballarat, daylesford, castlemaine maryborough. assisting charities and hospitals maldon and dunolly. women's radio club opening 3cv's new premises australian commercial broadcasting stations. writer harold v nunn writes history of district of mayborough. manager ken j parker, central victoria broadcasters pty. ltd. souvenir brochure: deep lead mining. wwi. houses pulled down. new settlements. primary production railway staff. coal fields wonthaggi. 1917 a public meeting was convened in an effort to stem the tide of adversity. mayor george frost, m.l.a., form a progress association, policy of secondary industry, james l drew rejuvenation was revolutionary, employment and economic security. the first of the industries to be formed in 1918 was the butter factory. thus it was a red letter day for the company in 1925 when the first dividend of 5 percent was paid.1955 dividend of 10 per cent. operating it's own trucks serviced local dairymen. maryborough knitting mills est. 1923 largest circular underwear plant in the commonwealth. established subsidiary mills at dunolly, talbot, avoca. interknit hosiery co. ltd., clunes. the maryborough flour mills it was built by mr cadwallader. mr. a land jas. minifie & co. messrs. willersdorf and forbes, build silos for wheat storage capacity is 100, 000 bushels. 1944 power was changed from steam to electricity. 20 sacks an hour. 1938 a chaff mill was built, best in victoria. patience and nicholson limited the p&n precision tools - taps, dies and twist drills. war, geared to the needs of the times, countless millions of tools into defence factories the armed forces of the allies, hydro-electric undertakings and the manufacture of cars and tractors. from 1858, w phelan & sons pty ltd, incorporated 1929. 1940 joinery manufacture. ready built housing field in 1950 - 1951 established a factory at cairns, northern queensland to overcome the manufacturing difficulties being experienced due to the shortage of plywood in victoria. present activities: ready built housing factory, on-site building, a modern joinery, timber yard, drying kilns, etc., and plumbing & electrical & engineering services, a door and panel factory at cairns, retail hardware store, melbourne sales depot. hedges & bell pty ltd were est. 1945, with a staff of 40 employees are the largest printing firm outside the metropolitan area. the branch of premier wireworks is a contribution made by the decentralisation policy of the state.
