The wall hanging was handwoven by Lilian Joyce Mann from hand spun fleece, natural coloured wool and vegetable dyed wool. Ms Mann owned a shop in Jacob Street which sold handmade soft toys and hand woven items. She was a founding and life member of the Geelong Handweavers and Spinners Guild. She died on the 17th July 2007 in her 92nd year.W7220 W7220 handwritten labelL.J.Mann Hand spun fleece Natural coloured wool + Vegetable Dyed wool L.J.Mannhandicrafts, geelong handweavers and spinners guild inc., weaving, mann, ms lilian joyce, geelong, victoria

This book was owned by the late Dr Elizabeth Kerr and was donated to the Museum by the executor of her estate, Margaret Cameron. It was produced for Cleckheaton wool and contains knitting patterns for a jumper and a jacket.Knitting pattern book, 4pp. Cover printed in colour with an oval photo of a man and a woman wearing a chunky, textured knitted jumper in beige (her) and a shawl necked brown jacket with a belt tie (him).No. 106 / Cleckheaton / COUNTRY SPUNknitting handicrafts - history, cleckheaton, knitting, handicrafts - history

Inge Cammans was born Ingenborg Flachs on 13 March 1932 in the Netherlands. She married Theodore Cammans on 27 April 1959 in Valkenburg. Inge was a dressmaker, and Theo a butcher. Later that year they emigrated to Canada, then in the mid 1960’s arrived in Australia. After arriving in Australia, they settled in East Gippsland. After some time in Sale, they moved to the small country town of Buchan and for two years they operated the local butcher shop and then took over the kiosk at Buchan Caves Reserve, which they ran for 13 years while raising their four children. Around 1980 they retired to the main street of Buchan. There they bought and restored the "Callemondah" property and opened a small craft and gallery space called the Buchan Black Marble Hut to display and sell Theo’s beautiful woodwork, stone craft and paintings. Although they were quite busy with the tourist trade, Inge fast became restless and borrowed a spinning wheel from a friend to try out. She taught herself how to spin and knit over the course of two months. From there, Inge went on to win a vast array of awards for her knitting - the house was full of walls upon walls covered in certificates, sashes, newspaper articles and pennants. She never used dye and only ever worked with natural wool, and would regularly travel out to the local farms to choose the colour of sheep she wanted. She would take the fleece to spin and then design and knit, crochet or latch hook every item from scratch, often inspired by techniques from dressmaking, and make knitted garments appear or behave the same way, despite its very different construction. This outfit was made by Inge in 1998. She was intrigued to figure out how to create the kilt pleats, the plaid pattern and the structure of the head piece. It was never intended to be worn out and about. She did knit items to wear, gift or sell, but the vast majority of her creative pieces were specifically intended as show submissions. This outfit was entered in the National Wool Awards competition in 1999 and won first prize. Hand knitted cream and brown outfit consisting of a skirt (kilt), jumper, hat (beret), scarf, socks and bag. Outfit is made using hand spun wool from local East Gippsland area, Perendale and Mohair. An artist tag and rosette award accompany the outfit.tag [front]: [handwritten] SCOTTISH OUTFIT / DESIGNED HAND- / SPUN + KNITTED OUT / OF PERRIDALE + / MOHAIR BY / Inge Cammans / [printed] BUCHAN / BLACK MARBLE HUT / GALLERY / Main Street, Box 9, / Buchan, Vic. 3885 / (051) 55 9296 / AUSTRALIA tag [back]: Theo Cammans / is an exceptionally talented individual. / He is responsible for not only / the beautiful paintings and / woodwork throughout the / shop, but also fashions the / unique Buchan Marble / into many varied and / stunning designs. / Inge Cammans / using her own hand spun / wool she has made multi / award winning garments / and wall hangings. / Each item in unique and / renowned world wide / She has taken first prize at - / National Wool Awards, / Melbourne, Lakes, Bairnsdale, Omeo / Paris Exhibitor front [rosette]: OMEO & DIST. A.&P. SOCIETY / WOOL DESIGN AWARDS / 1stknitting handicrafts, cammans, mr theo, knitting, handicrafts, east gippsland, inge cammas, buchan, migration, buchan black marble hut, awards

Spool of Spun Wool. Product of Stawell Woollen Millsstawell

Wooden rattle with handle and metal studs. When spun, a noise is made."M0941"gas, alarm

Single stem, spun silver made in three pieces, evidence of gildingnon

Awarded for 2nd Fours at Creswick Demo 1935Part of Kyneton Fire Brigade trophy collection Straight sided spun base plant pot decorated with pressed pattern of trees. Creswick Demo 1935 2nd Fours Leaves pressed on sidekyneton fire brigade, trophy, fire brigade demonstrations, country fire authority

I have lived in Box Hill now City of Whitehorse since 1970 I have belonged to Box Hill Spinners and Weavers Inc. since 1990.During the 90s' Box Hill Spinners and Weavers participated in the Annual Sheep and Woolcraft Show, at that time held in the Melbourne Showground. As well as submitting individual entries we always entered the Group Competition, known as the '5 articles' the entry had to have 5 separate articles made by a group and displaying different woolcraft techniques . In 1997 our Box Hill entry focused on 'The Planets' featuring five capes. The red one representing Mars the red planet. It was woven. The dark cape represented Jupiter. It was also woven. the Neptune cape was felted in blue and greens. The Earth cape featured knitting and crochet. My contribution was the Venus cape featuring spinning from raw merino fleece and silk. Once completed this wool/silk yarn was fashioned using hairpin lace. I was adept at spinning by this time but knew nothing about the old technique of hairpin lace. Box Hill Spinners and Weavers won First Prize. Margaret Dimelow.Cream coloured cape spun from raw merino fleece and silk, technique is hairpin lacecostume, female

A book of 64 pages including patterns, diagrams and information. The cover features different colours of spun wool and the organisation's logo.This book is a collection of favourite handspun patterns and recipes gathered together during the first 10 years of the Albury/Wodonga Hand-weavers and Spinners Guild, 1970 to 1980. Many of the patterns are completely original creations and therefore had never before been published. Other patterns were derived from old commercial patterns, and altered to suit handspun wool or the article being constructed. This book is the culmination of several months of research by a dedicated group of crafts-women within the Guild who have carefully re-checked all the patterns. Some of the garments had been awarded major prizes in the Annual National Woolcraft Festival, which is held mid-year in Albury for many years. The Albury/Wodonga Hand-weavers and Spinners Guild is still in operation in 2026.albury wodonga spinners, albury wodonga community groups, knitting patterns, wool spinners

This Belt was presented by the City of Essendon on occasion of presentation of the New Colours 25 November 1956Used to carry the Battalions colours Physical Description Green felt sash with red leather lining. Sash had gold trim and an inscribed silver plate on the face. The battalions battle honours are embroidered in spun gold thread on red silk banners in front of a lightly coloured wattle bush. The regimental badge is spun gold/ silver and red silk. Inscriptions and Markings This Belt was presented by the City of Essendon on occasion of presentation of the New Colours 25 November 1956This Belt was presented by the City of Essendon on occasion of presentation of the New Colours 25 November 195658/32 bn, 5/6rvr, dcoy, uniform

This dress was created by Jean Inglis for a competition of garments hosted by the Geelong Handweavers and Spinners Guild at a ski weekend in 1979. It was entered in the ‘evening wear’ category of hand spun and knitted garments. The Warp was commercially brought 2/24 wool. The Weft was hand spun black Corriedale wool. This wool was brought at a sale in Geelong and was hand dyed and spun by Jean. The patter is a ‘Ripple’ variation of a ‘Crackle’ weave completed on Jean’s own Dobby Loom (pictured). Long black dress stretching from the feet, reaching up to a hood at the neckline and down to the hands in the sleeve. The dress is black with a glossy silver pattern in the form of a band around the hood, hands and feet of the garment. In these bands is a wavy pattern of silver and black lines. There are multiple thick and thin lines of both the silver and black colours mirroring each other as the pattern stretches around the garment. wool, weaving, hand spun, corriedale

58th/32nd Battalion (The City of Essendon Regiment) 1955-1960 was an Infantry Battalion from Melbourne Australia. It became part of the Royal Victoria Regiment in 1960 and today its customs and traditions are preserved by the 5th/6th Battalion, the Royal Victoria Regiment. Before 1955, it was titled the 58th/32nd Battalion (The Melbourne Rifles) 1948-1955 and before 1948 had been two separate regiments; the 58th Infantry Battalion (The Essendon Rifles) and the 32nd Infantry Battalion (The Footscray Regiment). Gold and silver bullion decoration with red battle honours on a rifle green backing. The regimental badge of the 58th/32nd Infantry Battalion with motto 'Nulli Cedere' (latin for 'Never Give Up') is spun gold and silver bullion and red silk. The battalion's battle honours are embroidered in spun gold thread on red silk banners in front of a lightly coloured wattle bush. Battle honours 'Mont St. Quentin', 'Avere', 'Hindenberg Line', 'Bullecourt', 'St Quentin Canal', 'Polygon Wood', 'Albert 1918', 'Villers Brettenneux', 'Amiens' and 'Ypres'. Wattle backing behind. Silver plate attached to lower section inscribed as follows: 'This belt was presented by the City of Essendon on the occasion of presentation of new Colours 25 November 1956'. 58th/32nd battalion, city of essendon regiment, melbourne rifles, 5/6 rvr, 5th/6th battalion, royal victoria regiment, colour party, colour belt, australian army, essendon rifles

Hand spun, hand dyed, hand woven and hand sewn suit which won best garment in the 1987 Geelong show. Size 12 in a design by Chanel. It was spun with variegated natural greys on a Sheridan horizontal spinning wheel. It was then dyed pink using natural dyes. The jacket had commercially brought warp and hand spun weft in twill on a 24” loom. All spinning, dyeing and weaving was by Jean Inglis of Geelong. The suit was sewn by Caroline Mogic of Geelong, with iron on interfacing, commercially brought trim. It was worn only once in the parade at the Geelong show. The pink suit jacket has four pockets with gold buttons on front, size 12. The jacket has a checker-plate pattern in which the predominate pink is always present and is accompanied in areas which have grey or white showing through the pink. This checker plate pattern continues down the sleeves of the jacket. The edge of the jacket has a lighter pink trim. A pink skirt accompanies the suit jacket. It has horizontal lines with pink as the predominate colour and areas of grey and white showing through in sections. geelong show, hand spun, hand dyed, hand woven, hand sewn, channel

Wool was supplied locally from Naring. Wool was spun by Ellen Miller. Jumper was knotted by Ellen MillerHand-knitted woollen jumper, jumper, wool, knitted, spun, ellen miller, naring

Cream hand spun and woven wool ground embroidered with 6 figures (3 male, 3 female) in national costume, using knitting weight wool and some synthetics, in bright multi-coloured threads. Includes cords, pompoms and fringing as part of costumes.embroidery, bolivia, wool, synthetic

Interior view of machinery at Foster Valley Mill. Shows the winding (or twisting) machinery (where the spun yarn is threaded onto bobbins).Spinning machinery within the Valley Mill.T. Lockwood Lockwood / GEELONGtextile mills operation, valley worsted mill, winding machinery, textile mills - operation

Interior view of machinery at Foster Valley Mill. Shows the winding (or twisting) machinery (where the spun yarn is threaded onto bobbins).Spinning machinery in the Valley Mill.T. Lockwood Lockwood / GEELONGtextile mills operation, valley worsted mill, winding machinery, textile mills - operation

During WW2 the local Air Raid Wardens were issued with these rattles. The rattle made a loud clicking noise when spunA wooden rattle with handleMG1943 MK IIIworld war 1939 - 1945, air raid

As Buddhism spread to Tibet in the 7th century, prayer wheels became an essential attribute of Tibetan Buddhist practice. This practice is linked to teachings attributed to Nagarjuna (ca. 150 –250 CE), who emphasised the power of mantra recitation and visualisation. A prayer wheel, used for personal worship, allowed to release the spiritual power contained within the mantras, enabling practitioners, including those who could not read, to generate spiritual merit.Prayer wheels are used by Tibetan practitioners every day, sometimes hours at a time. They believe that turning the wheel with a pure, compassionate intention releases the mantras into the universe, which purifies negative karma, accumulates merit, and radiates compassion to all living beings. This prayer wheel consists of a hollow metal cylinder attached to a wooden handle. Inside the cylinder is a tightly wound scroll printed with numerous mantras and wrapped around a central spindle. A chain with a small weight attached to its end is affixed to the cylinder, allowing it to be spun with a slight rotation of the wrist."Om Mani Padme Hum" in Tibetan script tibetan buddhism, worship devices, holy objects

Threads were spun at home or sold in skeins prior to the production of thread supplied wound on reels. The threads were often stored on reels and those with decorated tops such as this were made for fitted workboxesDecorative bone reels were made for fitted work boxes which were status needlework possessions. two bone thread reels with carved tops with holes at centre to fit tubular column poles which screw into both endsTops carved with classic circular pattern.Bottoms plainthread, reel

Made by Jean Inglis for the Geelong Show 1986. Was spun, woven and dyed by Jean in Geelong, and was put together by a local dressmaker. Skirt is part of Chanel suit with item 7756. Earliest Date: 1986Cream coloured wool skirt with zipper at back.

As Buddhism spread to Tibet in the 7th century, prayer wheels became an essential attribute of Tibetan Buddhist practice. This practice is linked to teachings attributed to Nagarjuna (ca. 150 –250 CE), who emphasised the power of mantra recitation and visualisation. A prayer wheel, used for personal worship, allowed to release the spiritual power contained within the mantras, enabling practitioners, including those who could not read, to generate spiritual merit.Prayer wheels are used by Tibetan practitioners every day, sometimes hours at a time. They believe that turning the wheel with a pure, compassionate intention releases the mantras into the universe, which purifies negative karma, accumulates merit, and radiates compassion to all living beings.This prayer wheel features a wooden cylinder with a carved mantra in Tibetan script. The cylinder is attached to a wooden handle. Inside the cylinder is a tightly wound scroll printed with numerous mantras and wrapped around a spindle. A metal chain with a small wooden weight attached to its end is affixed to the cylinder, allowing it to be spun with a slight rotation of the wrist."Om Mani Padme Hum" in Tibetan scripttibetan buddhism, holy objects, worship devices

Presented to Jean Inglis as a prize for winning the textile competition at the 1988 Royal Melbourne Sheep Show. Her entry was a hand spun, woven and dyed wool suit for the Fashions for the Eighties parade competition. Earliest Date: 1988Dark blue felted wool sash with yellow text attached. Test reads "THE AUSTRALIAN SHEEP BREEDERS ASSOCIATION INC. / 1988 WEEKLY TIMES MELBOURNE SHEEP & WOOLCRAFT SHOW / WOOLCRAFT COMPETITION"

As Buddhism spread to Tibet in the 7th century, prayer wheels became an essential attribute of Tibetan Buddhist practice. This practice is linked to teachings attributed to Nagarjuna (ca. 150 –250 CE), who emphasised the power of mantra recitation and visualisation. A prayer wheel, used for personal worship, allowed to release the spiritual power contained within the mantras, enabling practitioners, including those who could not read, to generate spiritual merit.Prayer wheels are used by Tibetan practitioners every day, sometimes hours at a time. They believe that turning the wheel with a pure, compassionate intention releases the mantras into the universe, which purifies negative karma, accumulates merit, and radiates compassion to all living beings.This hand-held prayer wheel features a cylindrical body made of copper alloy and silver alloy and embossed with the “Om Mani Padme Hum” mantra (associated with Avalokiteśvara, the Bodhisattva of Compassion) in Tibetan script and decorative motifs. The cylinder, mounted on a metal handle, is spun clockwise during prayer and meditation. A weighted chain attached to the side helps maintain the wheel's rotation. "Om Mani Padme Hum" in Tibetan scripttibetan buddhism, holy objects, worship devices

As Buddhism spread to Tibet in the 7th century, prayer wheels became an essential attribute of Tibetan Buddhist practice. This practice is linked to teachings attributed to Nagarjuna (ca. 150 –250 CE), who emphasised the power of mantra recitation and visualisation. A prayer wheel, used for personal worship, allowed to release the spiritual power contained within the mantras, enabling practitioners, including those who could not read, to generate spiritual merit.Prayer wheels are used by Tibetan practitioners every day, sometimes hours at a time. They believe that turning the wheel with a pure, compassionate intention releases the mantras into the universe, which purifies negative karma, accumulates merit, and radiates compassion to all living beings.This prayer wheel has a hollow metal cylinder inside covered with a layer of ivory with carved elephants. The cylinder is inlaid with coral and turquoise and attached to an ivory handle. It contains a tightly wound scroll printed with numerous mantras, wrapped around a spindle. A chain with a small weight attached to its end is affixed to the cylinder, allowing it to be spun with a slight rotation of the wrist.tibetan buddhism, holy objects, worship devices