South Australian textile artist Trevor Smith was taught to crochet by his mother Jean in the 1960s. After training in sculpture, he returned to crochet after participating in a Regional Arts Victoria project in 2009. His quirky and inventive crochet sculptures stem from his interest in costume, characters, fashion, culture and history and push the boundaries of crochet in a move from functional items to creative artworks. Trevor has exhibited in various museums and galleries including the Art Gallery of Ballarat. Trevor Smith once held the role of Collections Coordinator at the Glenelg Shire Council.Crochet sculpture of a Leafy Sea Dragon. The Sea Dragon is on an oval, crochet background. It is two shades of green with the darker shade being the inner oval surrounded by a larger oval in a lighter shade of green. A brown sea dragon is on top of the oval. Crochet 'leafy' parts on the dragon's body and legs.portland, glenelg, glenelg shire cultural collection, great southern reef, marine, marine biology, crochet, craft

46 pagesnon-fictionContent includes text and photos of a totem pole under construction for Festival Melbourne2006, the cultural festival of the Melbourne 2006 Commonwealth Games. CARVE brought together artists from the Commonwealth nations of Canada, New Zealand and Australia, to examine the contemporary practice of traditional indigenous carving from each of these countries. Throughout the period of the Commonwealth Games each artist participated in demonstrations open to the public. Wayne Alfred from Canada, together with his son Marcus participated 18-25 March. The pole was carved alongside other carvers at Melbourne Museum. It was later donated to the Shire of Nillumbik. Contents: Threading the commonwealth: textile tradition, culture, trade and politics, Canopy of the commonwealth: community textile project, Spirit of the games: the opening ceremony revealed, Common goods: cultures meet through craft, New06 and +plus factors: contemporary Australian art Single currency: Australian and New Zealand art Flash: Australian athletes in focus, Game on! Sport and contemporary art, Best of the best: Commonwealth Photographic Awards.commonwealth games, art festivals, totem poles

As part of the National Trust's Australian Heritage Festival 2021, the Kew Historical Society and the Villa Alba Museum collaborated to mount a fashion and design exhibition. The theme of the exhibition took its focus from the year-long program at the Museum featuring the use of flowers in design. The walls and ceilings of the house are notable for their use of floral and narrative painted decoration produced, in the early 1880s, for William and Anna Maria Greenlaw by the Melbourne art decoration firm the Paterson Brothers. The examples of fashion and design from the collection of the Kew Historical Society were located on the ground floor of the house: in the drawing room, dining room, morning room and in the vestibule, or ballroom as it was sometimes described in nineteenth century newspapers. The exhibition was supported by the City of Boroondara through Triennial Operational Grant funding for the Kew Historical Society and the Villa Alba Museum.Series of photographs taken by Mitchell Luo Photography of exhibition pieces in situ at the Villa Alba Museum in May 2021.textiles in bloom, exhibitions — villa alba museum, australian heritage festival 2021

Greg’s work has grown out of a Buddhist/ecological perspective. Graduating with a major in Ecology, he worked in the scientific and art commissioning world, becoming a full-time art maker from the mid 1980’s. Much of his work is textile based, but drawing, printing and photography are other passions, each influencing the other. Greg's interests in physics, ecological theory, Buddhist ideology and years of observation, have all contributed to an aesthetic investigation dwelling upon underlying energies, patterns and relationships inherent in this world: the patterns of water drops on leaves, the way water flows over a bush track. The inspiration is endless. Winner of the 2025 Expressions Wool Quilt Acquisitive Prize. Exhibition history includes Tamworth National Fibre Exhibition, Hobart Art Prize, Sorrento Art Prize, National Contemporary Art Prize, Art Quilt Australia, travelling exhibitions (Ararat and Goulburn Regional Galleries), many other Art Prizes and Group shows. Work is held in the Powerhouse and National Wool Museum.Wool quilt featuring circle and line designs in blue, yellow and orange tones.art quilt, expressions: the wool quilt prize, acquisitive award, prize, quilting, wool, greg somerville, textiles, artwork

A rug designed to celebrate the exhibition of Egyptian art 'Life & Death Under the Pharaohs' from 'The National Museum of Antiquities' in Leiden, The Netherlands. It was made onsite at the National Wool Museum on the 1910 Axeminister loom. The rug was gifted to Brintons Carpets in 1999 as a gesture of thanks along with framed photographs and a certificate of authenticity.W7185 'The Egyptian' Rug Photograph of the wool bobbins on the loom Photograph of the wool bobbins on the loom Photograph of design being prepared for loom Photograph of design being prepared for loom Photograph of design being prepared for loom Photograph of rug being manufactured. Photograph of rug being manufactured. Photograph of rug being manufactured. National Wool Museum Catalogue Worksheet for W7185 page 1 National Wool Museum Catalogue Worksheet for W7185 page 2 Page 1 of a history of Brintons Carpets. Page 2 of a history of Brintons Carpets. A list of catalogues/items in the Brintons Collection donated after closure of Fellmongers Road factory in July 2008.furnishing textile industry, brintons australia pty ltd, carpet, geelong, victoria, furnishing, textile industry

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

'Interweave One' is a quilt made by Judy Turner in 2000. It consists of a woollen background and coloured woollen yarn which have been machine couched to the background. The techniques used to make it include quilting and machine couching. This quilt was an entrant in "Expressions 2000: the wool quilt prize"; an acquisitive exhibition held by the National Wool Museum from 16 Sept. 2000 to 3 Dec. 2000 (extended until 2 Feb. 2001) for contemporary art quilts, with the first prize winning $2000. 'Interweave 1' was selected as a highly commended entrant of this exhibition. It was catalogue entry no. 21.Quilt, black woollen background with coloured woollen yarn couched to the surface in a cross pattern.INTERWEAVE ONE / 76 X 126 CM / 2000 / JUDY TURNER / 31 BERTEL CRES / CHAPMAN / ACT 2611 / AUSTRALIA / PH 02 62886465quilting handicrafts, quilting, handicrafts, judy turner, expressions, wool quilt prize, national wool museum, quilt

The quilt was purchased from the Wool Quilt exhibition held at the National Wool Museum in 1995. It was subsequently exhibited in the Expressions 2000: The Wool Quilt Prize exhibition in the 'Invited exhibitors' section of the show. (Jan Irvine wrote the catalogue essay for this exhibition.) The quilt is part of the "Running Stitch" Collection. This quilt is titled "Sure as Night follows Day" and was made by Jan Irvine from worn and recycled woollen blankets with wool batting. The quilt has been crazy pieced, air brush dyed and hand quilted. The quilt was exhibited in the Running Stitch Contemporary Wool Quilt Exhibition held at the National Wool Museum in 1995 and was purchased for $1800 from this exhibition. The quilt was catalogue entry no. 18. It was later exhibited in "Expressions 2000: the wool quilt prize" from 16 Sept. to 3 Dec. 2000 (extended until 2/2/2001, catalogue entry no. 26).Catalogue entry from "Expressions 2000" Catalogue, held 16th September to 3 December 2000. Introduction to exhibition "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery. Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 1 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 2 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 3 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 4 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 5 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 6 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 7 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 8 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 9 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 10 Biographical notes from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 1 Biographical notes from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 2 Biographical notes from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 3 Biographical notes from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 4 Biographical notes from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 5SURE AS NIGHT FOLLOWS DAY DESIGNER + MAKER: JAN IRVINE NSW AUSTRALIA MADE:1995...quilting, handicrafts, textile art, running stitch group, blankets, running stitch collection, irvine-nealie, ms jan

Ghost Blanket IV won the 'Award for Excellence' at Ozquilt Network's biennial juried exhibition Art Quilt Australia for 2021. The quilt presented with the Award for Excellence is acquired into the National Wool Museum's Collection dating back to 2000 with the art quilt "Earth Blanket". Artist statement: In "Ghost Blanket IV", woven checked blankets are deconstructed and reimagined to create an appliquéd work with the feel of lace. It celebrates the natural colours of alpaca fleece and the qualities of felted, woven fabric.Woven black white and grey checked design appliqued onto silk organza.ozquilt, quilt, art quilt, wool

Worked and donated by Lady Amies Deerfield in style: Deerfield embroidery is an offshoot of crewel wool embroidery. In 1896 C.E., Margaret Whiting and Ellen Miller formed the Deerfield Society of Blue and White Needlework after having unearthed surviving fragments of wool worked crewel stitching from their local Massachusetts museum that dated back to the 1700s. Design taken from a mid 18th Century Bed Hanging in the American collection of the Metropolitan Museum or Art. Typical crewel design in shades of blue on cream linen. Mounted on blue fabric covered board. embroidery, panel, crewel, 1960-1980, australia, america, crewel embroidery, deerfield

Sara Lindsay is a Melbourne-based artist, curator and educator. She worked as a weaver at the Victorian Tapestry Workshop (now the Australian Tapestry Workshop) from its foundation in 1976 until 1990. Alongside her art practice, Lindsay has lectured at the Tasmanian School of Art, held the role of Curator of Textiles at the Tasmanian Museum and Art Gallery, then the position of Production Manager at the Australian Tapestry Workshop. Since 2013 she has mentored three Karen refugee women from Myanmar, assisting in their professional development and furthering their tapestry skills. In 2023 Lindsay began the Ararat New Settlement Weaving Program, teaching and mentoring culturally diverse settlers from refugee and migrant backgrounds in the Ararat region. The artwork exhibited here is part of body of work exploring Lindsay’s family’s historical ties to Sri Lanka. Her British grandfather managed a tea plantation in Ceylon’s hill country during the 1920s and 30s, where her mother was born before returning to England after his early death in 1937. After her first visit to Sri Lanka in 2005, Lindsay developed works that responded to this journey. She chose a quiet, contemplative approach to reflect on the complexity of colonial histories. Research into her family history led her to delve deeper into Sri Lanka’s complex history as a trading nation and to expand her materials to speak to this layered past. The use of cinnamon in this work connects to the story of 17th-century weavers from Southern India who were displaced from the Kingdom of Kandy and sent to the southwest coast to become cinnamon peelers under Portuguese and later Dutch rule. The finely woven ticking strips seen here reference the thick cotton fabric once used to cover mattresses and pillows aboard cargo ships transporting spices from Sri Lanka - a subtle reminder of the human stories woven into trade routes and colonial histories.

Sara Lindsay is a Melbourne-based artist, curator and educator. She worked as a weaver at the Victorian Tapestry Workshop (now the Australian Tapestry Workshop) from its foundation in 1976 until 1990. Alongside her art practice, Lindsay has lectured at the Tasmanian School of Art, held the role of Curator of Textiles at the Tasmanian Museum and Art Gallery, then the position of Production Manager at the Australian Tapestry Workshop. Since 2013 she has mentored three Karen refugee women from Myanmar, assisting in their professional development and furthering their tapestry skills. In 2023 Lindsay began the Ararat New Settlement Weaving Program, teaching and mentoring culturally diverse settlers from refugee and migrant backgrounds in the Ararat region. The artwork exhibited here is part of body of work exploring Lindsay’s family’s historical ties to Sri Lanka. Her British grandfather managed a tea plantation in Ceylon’s hill country during the 1920s and 30s, where her mother was born before returning to England after his early death in 1937. After her first visit to Sri Lanka in 2005, Lindsay developed works that responded to this journey. She chose a quiet, contemplative approach to reflect on the complexity of colonial histories. Research into her family history led her to delve deeper into Sri Lanka’s complex history as a trading nation and to expand her materials to speak to this layered past. The use of cinnamon in this work connects to the story of 17th-century weavers from Southern India who were displaced from the Kingdom of Kandy and sent to the southwest coast to become cinnamon peelers under Portuguese and later Dutch rule. The finely woven ticking strips seen here reference the thick cotton fabric once used to cover mattresses and pillows aboard cargo ships transporting spices from Sri Lanka - a subtle reminder of the human stories woven into trade routes and colonial histories.

Sara Lindsay is a Melbourne-based artist, curator and educator. She worked as a weaver at the Victorian Tapestry Workshop (now the Australian Tapestry Workshop) from its foundation in 1976 until 1990. Alongside her art practice, Lindsay has lectured at the Tasmanian School of Art, held the role of Curator of Textiles at the Tasmanian Museum and Art Gallery, then the position of Production Manager at the Australian Tapestry Workshop. Since 2013 she has mentored three Karen refugee women from Myanmar, assisting in their professional development and furthering their tapestry skills. In 2023 Lindsay began the Ararat New Settlement Weaving Program, teaching and mentoring culturally diverse settlers from refugee and migrant backgrounds in the Ararat region. The artwork exhibited here is part of body of work exploring Lindsay’s family’s historical ties to Sri Lanka. Her British grandfather managed a tea plantation in Ceylon’s hill country during the 1920s and 30s, where her mother was born before returning to England after his early death in 1937. After her first visit to Sri Lanka in 2005, Lindsay developed works that responded to this journey. She chose a quiet, contemplative approach to reflect on the complexity of colonial histories. Research into her family history led her to delve deeper into Sri Lanka’s complex history as a trading nation and to expand her materials to speak to this layered past. The use of cinnamon in this work connects to the story of 17th-century weavers from Southern India who were displaced from the Kingdom of Kandy and sent to the southwest coast to become cinnamon peelers under Portuguese and later Dutch rule. The finely woven ticking strips seen here reference the thick cotton fabric once used to cover mattresses and pillows aboard cargo ships transporting spices from Sri Lanka - a subtle reminder of the human stories woven into trade routes and colonial histories.

Sara Lindsay is a Melbourne-based artist, curator and educator. She worked as a weaver at the Victorian Tapestry Workshop (now the Australian Tapestry Workshop) from its foundation in 1976 until 1990. Alongside her art practice, Lindsay has lectured at the Tasmanian School of Art, held the role of Curator of Textiles at the Tasmanian Museum and Art Gallery, then the position of Production Manager at the Australian Tapestry Workshop. Since 2013 she has mentored three Karen refugee women from Myanmar, assisting in their professional development and furthering their tapestry skills. In 2023 Lindsay began the Ararat New Settlement Weaving Program, teaching and mentoring culturally diverse settlers from refugee and migrant backgrounds in the Ararat region. The artwork exhibited here is part of body of work exploring Lindsay’s family’s historical ties to Sri Lanka. Her British grandfather managed a tea plantation in Ceylon’s hill country during the 1920s and 30s, where her mother was born before returning to England after his early death in 1937. After her first visit to Sri Lanka in 2005, Lindsay developed works that responded to this journey. She chose a quiet, contemplative approach to reflect on the complexity of colonial histories. Research into her family history led her to delve deeper into Sri Lanka’s complex history as a trading nation and to expand her materials to speak to this layered past. The use of cinnamon in this work connects to the story of 17th-century weavers from Southern India who were displaced from the Kingdom of Kandy and sent to the southwest coast to become cinnamon peelers under Portuguese and later Dutch rule. The finely woven ticking strips seen here reference the thick cotton fabric once used to cover mattresses and pillows aboard cargo ships transporting spices from Sri Lanka - a subtle reminder of the human stories woven into trade routes and colonial histories.