Refer Registration No. 1095. Mary Meads - sister of Emma Meads, donor's great grandmother. Mary married and came to Australia on one of the early sailing ships. Emma was raised by her grandmother as she had measles and couldn't come out to Australia.Natural coloured linen - rose bud border in green and pinks. Religious verse, alphabet and various spot motifs in counted thread.Tis Religion that must give Sweetest pleasure while we live Tis religion must supply Solid comfort when we die After death it's Joy shall be Lasting as eternity. Mary Meadsembroidery, counted thread, samplers, 1820-40, england

Emma Meads worked this sampler, her name is embroidered on it. Mary Meads was donor's great grandmother. Emma Meads was Mary's sister. Mary married and came out to Australia on one of the early sailing ships. Emma was raised by her grandmother because she had measles and couldn't come out with Mary. Refer Registration No. 1096, Mary Meads sampler.Natural coloured linen. Counted thread, honey suckle border in pink, white, orange and very dark green. Religious verse in black.Be it my only wisdom here To serve the Lord with filial fear With loving gratitude Superior sense may I display By shunning every evil way And walking in the good. O may I still from sin depart A wise and understanding heart Jesus, to me be given And let me through thy Spirit know To glorify my God below And find my way to Heaven. Emma Meadsembroidery, counted thread, samplers, 1820-40, england

Bought by Lady Amies for the Guild while overseas and worked by her during her trip 1965-66.Brown linen cushion, Counted thread embroidery. stitched in perle 8 thread in a geometric design. Brown corded wool edge. End closed with hook and eyes.embroidery, cushion, 1960-80, denmark, counted thread

Donor's note - made in an orphanage at Samsun Anatolia, Turkey.Even weave linen embroidered with wool in brown, blue, green, yellow and white. Geometric design in counted thread work. Rod across top with brown wool loop to hang. Fringe across bottom.on paper label: " tutunum tuter". Fabric label "samsun olgunlasma Made in Turkey"embroidery, wall hanging, 1960-80, turkey, counted thread, macrame fringe

Designed and worked by Mrs H.S. WilliamsonThese pieces show the use of different materials (even weave linen, fine linen and very fine linen) threads, stitches and designs suitable for ecclesiastical use. A. Evenweave - counted thread work and hems and borders B. Fine linen - surface stitchery, vine and grape motif, plain edging C. Very fine linen - surface embroidery various cross motifs, decorative hem finishes.embroidery, counted thread, surface stitchery, whitework, ecclesiastical, 1980-2000, england, samplers

Natural coloured cotton fabric probably hand woven. Heavily embroidered with alternate bands of needle weaving and floral sprays of tent and cross stitch in pink and blue silks, along with metal threadsembroidery, towels, late 19th century, turkey, counted thread

Double ended towel of natural coloured cotton with a rough texture which is typical of the area and probably hand woven. A row of five flower vases embroidered in green and brown silk threads. Metal thread also used. Pulled thread strips separate vases.embroidery, towels, late 19th century, turkey, counted thread

Natural coloured linen probably hand woven. Embroidered at one end only with a vase of flowers in ecru, pink and gold thead. Vases separate by pulled thread rows. Along lower edge alternate blocks of satin stitched and drawn thread.embroidery, towels, late 19th century, turkey, counted thread, drawn thread

Perforated paper with silk embroidery sewing together with decorative stitching. Side 1, In Melbourne letters Side 2, To guard her head from Find no grace Dust and damps Unless they bear This case provides for Victoria's face Postage stamps19th century, embroidery, small articles, counted thread, australia

Belonged to Baroness Felicitas Wiedersperger of Tazivitz, worked by her sister the Baroness Viola.6 squares of white cotton joined to make a larger mat. 3 squares in one design and 3 in another. All 6 squares are outlined in a black border. Designs are in satin stitch in cotton and metal threads (gold).czechoslovakia, embroidery, mats, counted thread, late 19th century, mid european

Made by Lynette McAlister (member). Acquired for the Collection from the 1990 Guild Exhibition. Nov 1997 washed and remounted on acid free card. Previously on masonite with far too much padding.Picture worked in blackwork embroidery, black thread on ivory linen. Original design suggested by pen sketches, illustrating a report on Malvern. embroidery, pictures, counted thread, 1980-2000, australia, blackwork

Acquired with money from the Sampler Exhibition at the Guild - March 1988.Aged linen ground with multi-coloured cotton thread. Bands of pattern, letters, numbers, religious text and maker's name Jane Parry and when born 1730, and when she made the sampler 1742. Cross stitch, Satin stitch and eyelets were used. Restored, mounted and framed in 1988."The Fear of the Lord is the beginning of wisdom. A good understanding have all they that doth thereafter the praise of it endureth forever". "Jane Parry was born in the year of our Lord 1730 and this was made in the year 1742"embroidery, sampler, 18th century, england, counted thread, alphabets

Purchased by donor north of Sapa near Mount Fansipan, Vietnam. Small embroidered panel worn as part of everyday wear on back of jacket/top.Example of Hill Tribes embroiderySmall embroidered panel, faded indigo with counted thread embroidery.

One of a number of samplers embroidered by the donor's aunt, while she was studying at the Royal School of Needlework. She taught and judged embroidery throughout England.Cream sampler with counted thread work, probably in stranded cotton or fine linen (52 threads to the inch). The sampler is divided into rectangles and each rectangle has a different counted thread pattern. It is mounted on board.embroidery, samplers, 1940-60, england, white work

White cotton mat decorated with counted thread and with a rolled, buttonhole stitched hem in shades of blue,mat, embroidery, morocco, cross stitch

Hilda was a member of The Embroiderers Guild U.K., a teacher and Judge. She prepared study material and embroidered items for the British Home Industries. Hilda worked on the WW1 tapestry depicting Women's War Work, displayed in the Imperial War Museum. An Annual Prize is awarded in her name for Silk Shading, by a First Year Apprentice at the Royal School of Needlework, London.One of eight stitch samplers worked on coarse counted thread or woven linen. Demonstrating a variety of techniques and embellishments.Hilda Watson Milford Surrey Label on back

Hilda was a member of The Embroiderers Guild U.K., a teacher and Judge. She prepared study material and embroidered items for the British Home Industries. Hilda worked on the WW1 tapestry depicting Women's War Work, displayed in the Imperial War Museum. An Annual Prize is awarded in her name for Silk Shading, by a First Year Apprentice at the Royal School of Needlework, London.One of eight stitch samplers worked on coarse counted thread or woven linen. Demonstrating a variety of techniques and embellishments.Hilda Watson Milford Surrey Label on back

Hilda was a member of The Embroiderers Guild U.K., a teacher and Judge. She prepared study material and embroidered items for the British Home Industries. Hilda worked on the WW1 tapestry depicting Women's War Work, displayed in the Imperial War Museum. An Annual Prize is awarded in her name for Silk Shading, by a First Year Apprentice at the Royal School of Needlework, London.One of eight stitch samplers worked on coarse counted thread or woven linen. Demonstrating a variety of techniques and embellishments.Hilda Watson Milford Surrey Label on back

Hilda was a member of The Embroiderers Guild U.K., a teacher and Judge. She prepared study material and embroidered items for the British Home Industries. Hilda worked on the WW1 tapestry depicting Women's War Work, displayed in the Imperial War Museum. An Annual Prize is awarded in her name for Silk Shading, by a First Year Apprentice at the Royal School of Needlework, London.One of eight stitch samplers worked on coarse counted thread or woven linen. Demonstrating a variety of techniques and embellishments.Hilda Watson Milford Surrey Label on back

Hilda was a member of The Embroiderers Guild U.K., a teacher and Judge. She prepared study material and embroidered items for the British Home Industries. Hilda worked on the WW1 tapestry depicting Women's War Work, displayed in the Imperial War Museum. An Annual Prize is awarded in her name for Silk Shading, by a First Year Apprentice at the Royal School of Needlework, London.One of eight stitch samplers worked on coarse counted thread or woven linen. Demonstrating a variety of techniques and embellishments.Hilda Watson Milford Surrey Label on back

Hilda was a member of The Embroiderers Guild U.K., a teacher and Judge. She prepared study material and embroidered items for the British Home Industries. Hilda worked on the WW1 tapestry depicting Women's War Work, displayed in the Imperial War Museum. An Annual Prize is awarded in her name for Silk Shading, by a First Year Apprentice at the Royal School of Needlework, London.One of eight stitch samplers worked on coarse counted thread or woven linen. Demonstrating a variety of techniques and embellishments.Hilda Watson Milford Surrey Label on back

Hilda was a member of The Embroiderers Guild U.K., a teacher and Judge. She prepared study material and embroidered items for the British Home Industries. Hilda worked on the WW1 tapestry depicting Women's War Work, displayed in the Imperial War Museum. An Annual Prize is awarded in her name for Silk Shading, by a First Year Apprentice at the Royal School of Needlework, London.One of eight stitch samplers worked on coarse counted thread or woven linen. Demonstrating a variety of techniques and embellishments.Hilda Watson Milford Surrey Label on back

Hilda was a member of The Embroiderers Guild U.K., a teacher and Judge. She prepared study material and embroidered items for the British Home Industries. Hilda worked on the WW1 tapestry depicting Women's War Work, displayed in the Imperial War Museum. An Annual Prize is awarded in her name for Silk Shading, by a First Year Apprentice at the Royal School of Needlework, London.One of eight stitch samplers worked on coarse counted thread or woven linen. Demonstrating a variety of techniques and embellishments.Hilda Watson Milford Surrey Label on back

At the time of sale, the last of the Hirst family to work in the mill located in Geelong gave Donald (donor Bruce's father) Doherty a set of scales that had been used by several generations of Hirsts and adapted by them over time for specific use in their mill. These Scales were saved from waste and being thrown away at the time of sale to remain in use in the industry in the hands of someone who knew how to use them. The scales were used in calculating the weight of cloth and simultaneously calculating the amount of yarn required to weave it following the instructions printed within the box. The box bears the signatures of two Hirst family members, one being Lewis Hirst dated at 1898. The original brass pole has been replaced with a replica metal somewhere throughout the years after the brass pole broke through use. Hirst was brought by McKendrick in the 1960s and these scales sat for 12 months as part of the 12 month "cooling off" period. The scales were then handed to Donald rather than being disposed of.Scales used for weighing and calculating weight and thread count of textile samples. Originated from Godfrey Hirst Mills in Geelong. Writing describes how to utilise scales. Scales are made from brass, pole for holding scales once brass now replaced with metal pole. Scales held inside wooden box with black text in ink depicting use of scales on paper located inside and outside of box.Outside of box. Wording: APPARTUS for TESTING the WEIGHT per YARD of CLOTHS & COUNT of YARN from a small SAMPLE. -------------------------------------------------------------------------------------------------------------------------------------------------- Indispensable to Manufactures, Merchants & handling Woollen, Worsted, Cotton, Linen, Jute, Hemp, Flannel, Felt, Army, Navy, Police, Railway, Sail & other Cloths -------------------------------------------------------------------------------------------------------------------------------------------------- USED IN GOVERNMENT DEPARTMENTS -------------------------------------------------------------------------------------------------------------------------------------------------- The apparatus consists of Scales, Weights, 1, 2 & 4 sq. inch Cutting Templates & Book of Tables --------------------------------------------------------------------------------------------------------------------------------------------------By weighing a small Sample the accurate Weight in Ounces of a yard of Cloth any width from 18 to 64 inches, the Weight per Square Metre in Grams, the Counts* of Warp and Weft, and the approximate length of full & short ends of pieces of fabrics, [without unrolling and measuring for stocktaking & other purposes] can be ascertained without any Calculation --------------------------------------------------------------------------------------------------------------------------------------------------Price in United Kingdom, 25s., Carriage Paid. Price to Canada & U.S.A. $6.75 do. H. Lord. 10, And Place, Bradford, England. --------------------------------------------------------------------------------------------------------------------------------------------------*When ordering, state on what system you base your YARN COUNTS. Inside of box. Wording: DIRECTIONS FOR USE --------------------------------------------------------------------------------------------------------------------------------------------------TESTING WEIGHT OF CLOTHS. Place sample to be tested on a piece of cardboard, put a Cutting Template on it, cut card and cloth round template with scissors and weigh it according to instructions given in Book of Tables. TESTING FOR YARN COUNTS. Cut out 1 square inch of cloth, draw out wrap or weft threads, according to which is being tested, and the number of inches so drawn, that balance respective weight is the approximate Count. The same rule holds good when number of inches are drawn from a bobbin. In testing from the cloth, allowance has to be made for loss or gain in the process of manufacture. Weight marked C is for Cotton Counts " " W " " Worsted " " " WS " " Woollen Skeins " " L " " Linen Counts. The weights for testing samples of cloth are 20, 10, 10, 5, 3, 2, 1, grains in brass & '5, '3, '2, '1 [tenths of a grain] in aluminium. Inside of box. Signtures, handwritten: Bottom right: Lewis Hirst !898 Top Left (Smudge ?) W Hirst !935godfrey hirst, hirst family, textile design, textile creation

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. Textile designers used glasses such as these to see how many threads are within a textile sample. It was important to count correctly, otherwise the enlarged final pattern would be out of alignment. These glasses were popular in the 1950s but were replaced by viewing lens, such as item 8040 (in the National Wool Museum's Collection) in the 1960s because of their compact nature.Thin metal wire makes up the frame of the glasses. The metal is a standard metallic silver. The piece to sit on-top of the ear is excessively curved to hook around the ear. This is done to ensure the glasses do not fall off the face while looking down to view thread counts in a textile sample. The glasses are lacking lenses in their usual place. This has been replaced by another thin wire frame which protrudes an extra inch in front of the frame, almost like an additional layer of the glasses. Where this layer / frame ends, two lenses can be found which are square and much smaller than typical glasses lenses. This has been done to allow for powerful magnifying glass which would be ill-suited if it sat too close to the face / eyes. The glasses are also accompanied by their original box. The box is blue and has a large rectangle running through its centre. This rectangle works as a cushion for the glasses and is required as a result of their unusual shape.textile design, textile calculations

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. Textile designers used viewing lenses such as this to see how many threads are within a textile sample. It was important to count correctly, otherwise the enlarged final pattern would be out of alignment. Before compact lenses such as this, specialised glasses were used such as 8039.The viewing lens has a 3 fold design in order to fold up to be compact and easily transportable in a pocket while also working to provide its own stand when unfolded. The lens is black and contains one circular piece of magnifying glass on the top panel.Top panel. Words, scratched. NINOtextile calculations, textile design

Malas are used to help focus awareness and concentration during spiritual practice of reciting mantras. Traditionally made from wood, bone, seeds from the Bodhi tree or gemstones. They may include silk or cotton tassels.Malas are used like a Christian rosary, often supporting the counting of mantras and held whilst reciting prayers. A long mala is a set of 108 strung beads, plus a Guru bead which serves as a tactile reminder of the conclusion of the current round of chanting mantra. The guru bead represents the relationship between the student and the guru or spiritual teacher. The 108 beads signifies the 108 afflictions to be overcome and the 108 Buddhas.Long mala with a threaded dharma wheel attached from the guru bead. On the end of the wheel there are two strands of five beads each.worship device

Originating from the Dutch province of Friesland, these samplers served as a way to practice and record various stitching techniques. Household linen was embroidered with initials to identify items after washing and draped in fields to dry. Fries sampler in the traditional style with multiple alphabets and traditional motifs, worked in silk threads on approx. 32 count linen. Worked selvedge to selvedge with top and bottom hemmed. Consisting of 4 sided stitch, cross stitch and eyelet stitches. In pale/faded blues, greens and beige.K.D. 1713-1714