Dress, blue/white denim-type weave, button-through. 7 white buttons and hooks-and -eye at the waist. belt of same fabric with 8 lines of oversewing, white button and two buttonholes. Dress has shirt collar, two patch pockets on skirt and long sleeves with buttoned cuffs and two keepers at waist.costume, sunbury asylum, george evans collection

They are part of a vintage three piece condiment set which has a Guernsey coat of arms insignia badge attached to the mustard pot not pictured here. See entry 3531. The salt and pepper shakers and mustard pot were used in the 1900's. It was originally owned by Edward Lloyd Mauger.A pair of vintage small chrome plated salt and pepper shakers with a basket weave outer container and a cobalt blue glass insert to hold either the salt or pepper. They have domed screw top lids and a hole in each silver base. They are part of a three piece condiment set - see entry 3531 for the mustard pot.'Cromplate' on the base of the mustard pot.tableware, salt and pepper shakers, food containers, condiment sets

Made by Internee . Camp 13, MurchisonLight Blue & White Macrame Belst with Tortoiseshell Buckle.tatura, handcrafts, weaving

Designed and constructed in Camp 1 by W. (Jack) Weber and used to make scarves by and for the internees.Handmade wooden table top loom attached to a rectangular piece of crafttwood representing a table. 13 hooks attached to each wooden endpiece. A separate box of wool goes from end to end through a series of nails which are in a zig zag pattern. 1 small stool for holding wool.tatura, handcrafts, weaving

Designed and constructed in Camp1 by W (Jack) Weber and used to make scarves by and for the interneesHandmade wooden loom with levers ,pulleys ,eyelets ,upright shapes and part woven wool made from scrap metal and improvised tools. Jack was an engineer who migrated to Queensland and was interned in 1939.tatura, handcrafts, weaving

Wangaratta Art Gallery Collection. Acquired with the assistance of The Robert Salzer Foundation.A small hand-woven tapestry featuring a jagged line pattern in shades of blue on a ochre coloured background.tim gresham, tapestry, weaving

Instructions: "Hattersley Domestic Loom: Tooth and Pick Take-Up Motion"Booklet, 3pp. loose leaf. Printed with text and diagrams on one side only. "Hattersley Domestic Loom: Tooth and Pick Take-Up Motion"weaving, george hattersley and sons ltd, weaving machinery

Blueprint / diagram for a Hattersley loom: "Partculars for Setting Domestic Loom Dobby with Slayboard at Front Centre".Blueprint; detailed diagram printed in black on buff coloured paper. "Partculars for Setting Domestic Loom Dobby with Slayboard at Front Centre".weaving, george hattersley and sons ltd, weaving machinery

Folder containing pattern and samples of three woollen upholstery designs: "WOOLLEN UPHOLSTERY" pattern sheet with 3 cloth samples (yellow/brown, green/blue, pink/blue).GEOFF ROBINSON (pencil) WOOLLEN UPHOLSTERY (ink)textile production weaving, textile production, weaving

Depicts looms within a mill, c.1930s.weaving, textile mills staff, textile mills - staff

Rug was made on National Wool Museum Brinton Axminster Gripper Loom by Brintons Carpets Geelong staff prior to the visit of Queen Elizabeth. On the afternoon of 28/4/1988 Queen Elizabeth was presented with a similiar rug but latex backed and labelled.Rug was made on National Wool Museum Brunton Axminster Gripper Loom by Brintons Carpets Geelong staff prior to the visit of Queen Elizabeth. Detail of rug made on National Wool Museum Brunton Axminster Gripper Loom by Brintons Carpets Geelong staff prior to the visit of Queen Elizabeth II. Label on rug made on National Wool Museum Brunton Axminster Gripper Loom by Brintons Carpets Geelong staff prior to the visit of Queen Elizabeth II. Label for rug made on National Wool Museum Brunton Axminster Gripper Loom by Brintons Carpets Geelong staff prior to the visit of Queen Elizabeth II.weaving, national wool museum, axminster

Belmont Axminster pattern no. 46/8562, made by Brintons Geelong. Part of ten piece collection originally presented to the Queensland Museum by Mr Doug Glanville.Belmont Axminster pattern no. 46/8562, made by Brintons Geelong. Belmont Axminster pattern no. 46/8562, made by Brintons Geelong.Brintons Geelong 46/8526 10 Belmont 82weaving, brintons pty ltd (geelong), carpet

Heavy Axminster carpet sample from Brintons Kidderminster England, from a Wilton loom circa 1930. Part of a ten piece collection originally donated to the Queensland Museum by Mr Doug Glanville.Heavy Axminster carpet sample from Brintons Kidderminster England, from a Wilton loom circa 1930. Heavy Axminster carpet sample from Brintons Kidderminster England, from a Wilton loom circa 1930.Brintons Conda - 6weaving, brintons ltd (uk), carpet

Heavy Aminster produced for the Australian Wool Board pavilion at Expo Japan in 1970 by Brintons, Geelong. This piece is believed to have had 600,000 pairs of feet walk over it. Part of a ten piece collection originally presented to the Queensland Museum by Mr Doug Glanville.Heavy Aminster produced for the Australian Wool Board pavilion at Expo Japan in 1970 by Brintons, Geelong. Heavy Aminster produced for the Australian Wool Board pavilion at Expo Japan in 1970 by Brintons, Geelong.(Brintons Brisbane) G4498 Natural JF Expo Loom 22 Dye 4 30 8 J.J. Expo Osaka Japan '70 82weaving, brintons pty ltd (geelong), carpet

Pattern no 581/61486 Wilton made by Blackwood Morten Kilmarnoch Scotland. Part of the ten piece collection originally presented to the Queensland Museum by Mr Doug Glanville.Pattern no 581/61486 Wilton made by Blackwood Morten Kilmarnoch Scotland. Pattern no 581/61486 Wilton made by Blackwood Morten Kilmarnoch Scotland. Pattern no 581/61486 Wilton made by Blackwood Morten Kilmarnoch Scotland.581/6/1486 5weaving, blackwood norton, carpet

Sultana worsted Axminster 27" carpet body sample made by John Crossley & Sons Ltd. Related to border sample 88.0047 (old registration number). Part of ten piece collection originally presented to the Queensland Museum by Mr Doug Glanville.Sultana worsted Axminster 27" carpet body sample made by John Crossley & Sons Ltd. Sultana worsted Axminster 27" carpet body sample made by John Crossley & Sons Ltd.Sultana worsted wool Axminster linen back manfd. 1893 4 27" body carpet J.C & Sons Ltd Halifax Englandweaving, john crossley and sons, carpet

Sultana worsted Axminster border made by John Crossley & Sons, Dean Clough Mills, Halifax, England. The border framed the edge to stripe of object 88.0048 (old registration number), laid to fill floor space. Part of the ten piece collection originally presented to the Queensland Museum by Mr Doug Glanville.Sultana worsted Axminster border made by John Crossley & Sons, Dean Clough Mills, Halifax, England. Sultana worsted Axminster border made by John Crossley & Sons, Dean Clough Mills, Halifax, England.Sultana worsted 3 1' 10 1/2" 5/8 Border Carpetweaving, john crossley and sons, carpet

Braid woven in 1977 on an inkle loom.handicrafts, weaving, weaving looms

10-12 years old (at 1989). Brother of the donor made this item.Wall hanging Kindly donated by Margaret Williams on July 21st. 1989weaving, williams, mrs margaret mary

Depicts a Hollingworth Dobcross 1929 loom within a mill, c.1950s. Part of a series of photos depicting the various operations within a textile mill, all of which have been edited for publication.weaving textile mills - operation, weaving, textile mills - operation

Type used in wool weaving at Castlemaine Woolen Mill.Six new wooden drive belts used in Woolen Mills. Comprising rectangular pierced wooden blocks held together by short lengths of chain.weaving, manufacturing, wool

Used on a pre-war mule spinner.handicrafts weaving, handicrafts, weaving

The HMAS BENDIGO (1) was a Bathurst type Minelayer/Corvette. It was made in Australia. Launched 1 MAR 1941 and paid off 27 SEP 1946. The ship had a normal complement of 85 hands. The ENSIGN is the standard pattern Royal Navy ensign in use at the time by The Royal Australian Navy. The Ensign has five written names including the Captain and has 85 autographs. All but two have been identified. Referring to the sailor's service cards, the signing probably occurred between OCT 1945 to FEB 1946. Post WW2, the Ensign was presented in gratitude to the City of Bendigo where it was on display in the Old Town Hall for decades. The City then gifted the Ensign to the Bendigo and District R.S.L. After some time the RSL lodged the Ensign with the Soldier's Memorial Institute Military museum for safe keeping.The main part is of a strong open weave white cotton. The flag is divided by a bright red cross vertically and horizontally. In the top left quadrant is the Union flag of the U.K. The left side has a strong canvas spine in which is mounted the sisal rope. The rope has a small length with loop at the top and a longer length with loop at the bottomThe bottom right quadrant, has these words stencilled on it..."In Appreciation from HMAS BENDIGO". The other two quadrants have a large quantity of signatures.corvettes ww2, hmas bendigo

This item was manufactured in a period where the cheapest containers for portable equipment was canvas. The market place for cheap cameras was still restricted to European, England and its colonies. It was well before the post World War II explosion of the Asian manufacturing juggernaut.This item shows one of the most popular avenues of not only bringing new "modern" age equipment into the Kiewa Valley but also providing the local market with actual overseas inexpensive merchandise. It was a time when the new European fashion and "new age" equipment took years to permeate into regional Australia. The world, through Australia eyes, was still a very large planet and supply of "modern" lifestyle equipment emphasised the geographic isolation of Australia. Post World War II emigrants and an increasing flow of tourists to Australia provided the contact needed by rural settlements to open up not only their social contacts but lifestyle activities.Canvas, yellow, cream in color and with a weave pattern on the external side. It has stitched brown laminated fabric boarders containing all ends and corners. A flap opening top fastened on one side by a large press stud (15mm). A brown coloured leather carry strap (adjustable and 10mm wide) fasted at either of the longitudinal ends of the bag.camera, case photography, hobby, personal equipment

This tabard is one of a small number that were produced/woven by Japanese master weaver Jun Tomita during the period that he was resident artisan at the Jam Factory in Adelaide. The tabard incorporates Ikat/Kasuri woven central panels. Tomita was born in 1951 in Toyama prefecture, and is based in Kyoto, the textile centre of Japan. The technique he uses kasuri (the Japanese term for ikat) is selectively pre-dying yarns before weaving to create pattern. The other decorative features of this garment are based on Japanese family crest designs (kamon). The pointed shoulders of this garment are reminiscent of the stiffened shoulders of kataginu, the upper part of the kamishimo ensemble that was formal wear for samurai men. Tomita was at the Jam factory from 1976-78 and he has works in numerous public collections, including: - Stanthorpe Art Museum, Art Gallery of South Australia / Australia - Oslo National Gallery / Norway - National Museum of Israel / Israel - Stedelik Museum, Museum of Rotterdam / The Netherlands - Denver Art Museum, St. Louis Art Museum, Long House Foundation - Cooper-Hewitt Museum of Art/USA - Victoria and Albert Museum, UK - Toyama Prefectural Museum of Art, Japan The donor purchased this tabard from an exhibition held at Wool House in Parkville Victoria, which was sponsored by the Australian Wool Board to promote the use of Australian Wool in textiles and fashion at that time, around April/May in 1977. At that time (1976-1977) the donor owned and run a retail/display shop for craft products such as ceramics, artworks and jewellery. The donor subsequently retained this in storage with some other items since the business closed.Double sided reversible tabard featuring woven centrals panels. One side is navy blue with white and blue detail panels, one side is grey with green, brown and cream central panel detail.textile, tabard, japan, art, clothing, weaving, fashion, design, ikat, kasuri

Blotting paper was traditionally used to blot excess ink from writing when pens and fountain pens were in common use. The paper is open weave and very absorbent. Many such as this were presented in the form of a booklet with a number of leaves inside and an appealing picture, drawing or advertising material on the front. A common item which would have been in use for many years. This particular one has visual appeal.A pale green card blotter with a picture of house surrounded by multi- coloured cottage garden. Verse is underneath the picture. The picture is on a separate piece of paper which is glued to the green card. It has a zig zag edge on the card and includes four sheets of blotting paper. Held with green cotton cord on the side.A gift Blotter for Mother. The sweetest sounds to mortals given are heard in Mother, Home and Garden. (William Goldsmith Brown)blotting paper, warrnambool