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." Laconia Pure Lamb's Wool Blankets (mother and baby in bed)Laconia Pure Lamb's Wool Blankets/Make Goodnight a Certainty/*There's nothing in the World like WOOLblankets, blanket fever, wool, laconia, advertisement, australian women's weekly

Part of a collection of books, manuals, photographs, letters and clothing relating to the working life of Stuart Ascough. Stuart's career in the wool industry spanned over 43 years from 1960 to 2003 in various roles including Topmaking Plant Manager at Courtaulds Ltd. in Spennymore, U.K., Operations Manager at Port Phillip Mills in Williamstown Victoria, Marketing Executive, Early Stage Wool Processing at the International Wool Secretariat Melbourne, Australia and General Manager of Victoria Wool Processors Pty. Ltd. in Laverton North, Victoria. Throughout his career Stuart travelled extensively, and in the 1990s worked at many topmaking mills in China on quality improvement projects. He also provided technical advice and training at mills in India, Ukraine, Lithuania, Kyrgyzstan, Russia, Latvia, Byelorussia and other parts of Europe and Asia.Folded world map showing statistics, images and graphics relating to wool in the 1990's.front: World Wool Map / Rabobank / International / Rabobank International / Food & Agricultural Research / Croeselaan 18 / 3521 CB Utrecht / The Netherlands / Telephone +31 (0) 30 2161178 / Fax +31 (0) 30 2161920 / E-mail: [email protected] / Web-site:www.rabobank.com/far / Map produced by G-O graphics / Wijk bij Duurstede, The Netherlands / www.g-o-graphics.nlstuart ascough, international wool secretariat, victoria wool processors, port phillip mills pty ltd, topmaking, career, wool industry, training, technical advice, mills, map

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." Tonight sleep deep in blankets of purest wool (lady making bed and range of blankets) Tonight sleep deep in blankets of purest wool toned in the softest of pastel checks to make a bed lovely and warm/Onkaparinga, the worlds finest blanket from the world's finest wool/Onkaparinga new pastel multi-check blankets/Buy Well-Buy Wool/Obtainable from leading stores throughout Australiablanket, blanket fever, wool, onkaparinga, advertisement, australian women's weekly

This stencil was used as a location stamp for the transportation of wool bales. There are many towns and cities around the world called Winston. Wool bales marked WINSTON would have been transported to any one of them by sea.Wool bale export stencil - WINSTONWINSTONwool - transportation, wool sales, wool class, wool classers

Kathryn Knitwear, founded by Robert Blake, manufactured high quality children’s knitwear in Melbourne from the 1940s – 1980s. Robert Blake began manufacturing children’s knitwear in his bedroom in Strathmore using a hand powered machine in the late 1940s. The operation moved to Ascot Vale and Essendon, before eventually establishing a factory in Moonee Ponds in the early 1950s. The business continued to expand, necessitating a move to a new factory in Broadmeadows. By 1962, the Broadmeadows factory was producing an average of 20,000 garments per month, which increased to 24,000 by 1964. Robert Blake’s Son, Brendan recalls that “The Kathryn brand was famous around Australia, anywhere children needed to keep warm and dress smartly. It also won a number of wool fashion awards”, including the 1969 Wool Awards, which was held by the Australian Wool Bureau and published in Women’s Weekly. The Kathryn range was designed for durability, comfort and care, without sacrificing style. They used patterning techniques that increase stretchiness, comfort and fit, as well as integrating decorative elements into the fabric to prevent them from being bulky, uncomfortable or tight. Making longevity of style a priority, Brendan Blake remembers that “there was one particular garment that was in the range for at least thirty years”. He also recalls “In the past, when women have found out that I was associated with Kathryn Knitwear, they would often relate to me the story of a garment they had purchased or received as a gift and, when their child had grown out of it, they would hand it on to another child. Several ladies have told me of purchasing garments for their daughters’ glory box, or saving a particular garment after their daughter had grown out of it. Brendan Blake: “At the peak of their operation they employed approximately two hundred people, mainly women and girls. A family would often seek to send their daughter to work in this company because they knew they would be looked after and safe. One lady wrote to me telling me that working at the Moonee Ponds Factory prior to getting married was the happiest time of her life.” In 1963, workers at the Kathryn factory earned £13 per week, which was 8 shillings and 8 pence higher than the minimum weekly wage for female workers in the textile manufacturing industry (£12 11s 4d). By 1970, the Kathryn Knitwear brand expanded from children’s knitwear into womenswear under the brand name ‘Lady Kathryn’, and for boys and men under ‘Robert Blake’. Continuing to diversify their distribution, they also began exporting ‘Kathryn’ garments to New Zealand, the Pacific Islands, and Japan. ‘Kathryn Knitwear’ was well-known for their early adoption of modern materials and techniques that had broad appeal to their customer base. This is shown in their early use of the acrylic fibre ‘Orlon’ in the 50s and 60s and ‘Superwash’ wool in the 1970s. Many of Kathryn Knitwear’s styles, particularly those that were long running staples of the brand, were available in both wool and Orlon to suit the consumer’s preference. Wool has been renowned for its excellent properties for thousands of years, by people from all over the world. Not only good for thick winter woollens, it can help keep you cool in summer, as well as being durable and resistant to water, fire, ultraviolet light, stains and odour. In a world where wool garments all had to be washed by hand, the invention of machine-washable acrylic fibres and widespread adoption of washing machines in ordinary Australian homes in the 1950s and 60s posed a major risk to the wool industry, and by extension the entire Australian economy. With the price of wool falling, the CSIRO and the Australian Wool Board worked together from the 1950s on a number of developments to keep Australian wool competitive and desirable to the public, many of which came out of the Geelong research labs. While progress had been made in the preceding decades, 1970 saw a major breakthrough; the invention of a new method of making wool washable and shrink-proof, most commonly known as ‘Superwash’. It is a technology that is still highly used to this day, and is very recognisable to those who use commercial wool yarn to knit or crochet. Far from the humble origins of one man in his bedroom with a hand-cranked machine; at its closure in 1980, the Broadmeadows factory of ‘Kathryn’ housed more than 100 machines, including 53 sewing machines and 45 knitting machines. Robert Blake was “a passionate advocate for wool and Australian Made” throughout his whole life. A strong thread that ties through the lifespan of Robert Blake and Kathryn Knitwear is a balance between adopting new innovations without sacrificing the core values of durability, comfort, care and style that had made the brand so well known. Their legacy forms an integral part of both Australian social and manufacturing history.Blue wool turtleneck ‘skivvy’ jumper in all over rib pattern with long sleeves. .2) swing tag with woolmark logo for ‘Superwash Wool’1.)[white label at back neck with blue writing] KATHRYN REGD. (Woolmark Logo) PURE NEW WOOL Superwash SIZE 2 HGT. 92cm MADE IN AUSTRALIA 2.)[retail swing tag for ‘Superwash Wool’] [OBVERSE] [woolmark logo] [handwritten in blue pen] 314 [printed] PURE NEW WOOL [handwritten] 2 Superwash Wool Machine Washable [INTERNAL] [woolmark logo] PURE NEW WOOL YOU ARE NOW THE OWNER OF A SUPERWASH WOOL GARMENT That has been specially treated to withstand a lifetime of machine washing. SUPERWASH WOOL has all the desirable qualities of wool – soft handle, comfort, warmth and style. Not all wool knitwear has the SUPERWASH treatment so remember always to look for the special “SUPERWASH” label and swing ticket. To was SUPERWASH WOOL just follow the instructions of the garment label. [woolmark logo] PURE NEW WOOL SUPERWASH WOOL THE WOOL YOU WASH IN THE MACHINE.knitwear, children's knitwear, clothing, children's clothing, jumper, manufacturing, fashion textile production, machine knitting, csiro, national wool board, superwash, australian wool innovation

THE CUTTY SARK: - The Cutty Sark was built in Britain in 1869 and was one of the last great sailing ships. At first, it carried tea from China. Later, it was used to transport wool from Australia. It became famous for its speed and held the record for the fastest voyage from Australia to Britain for ten years. Later, a Portuguese company bought the ship and renamed it Ferreira. After that, a retired sea captain purchased it to use as a training ship in Cornwall. When the captain died, the ship was given to a training college in Greenwich in 1938. In 1954, it was placed in dry dock at Greenwich, where it remains on display. The Cutty Sark is a special ship because it carried wool from Australia to other parts of the world. Models like this one help us imagine what sea travel was like before steam-powered ships were common, and they show us how trade, travel and migration changed over time. The Cutty Sark is also famous for being very fast. It set a record for the journey from Australia to Britain and kept that title for ten years. Today, people still recognise its importance because it has been carefully preserved and is on display at the British Maritime Museum in Greenwich. Its story has also made it a favorite subject for people who enjoy building ship models. Ship model: the clipper ship Cutty Sark in full ship rig with raised poop deck, deck house, three boats on deck (one has fallen). It has a two-toned black and tan hull and three jibs. The model is set in a diorama of a blue sea, a lighthouse and another small yacht. It is housed in a glass-sided case with a dark grey painted structure. The bow has an inscription."Cutty Sark"flagstaff hill, warrnambool, flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, maritime museum, great ocean road, cutty sark, historic sailing ship, tea clipper, sail training vessel, cadet training ship, commercial trading vessel, cargo sail vessel, ferreria, 1869, tea cargo, tea trade, china tea, wool export, australian export, australian wool export, cornwall, training ship, greenwich, british museum, ship model, craft, hobby, ship model cutty sark, model making

The biscuit locker came from the vessel the "City of Rayville", an American motor-driven freighter constructed in 1920. The ship was the second victim within 24 hours of an extensive minefield laid by German raiders in October 1940, during World War Two and the first American ship to be sunk in world war II. She was under the command of Captain Cronin and bound from Adelaide via Melbourne to New York, carrying a cargo of 1500 tons of lead from Port Pirie along with a cargo of wool and copper from Adelaide, when she struck a mine in the Bass Strait, six miles south of Cape Otway at 7:45 pm on 8th November 1940. The explosion was heard on shore at Apollo Bay; the force of it tore out the foremast and the ship sank within 25 minutes. There was a crew of 38 and all but one survived. A rescue crew of fishermen from Apollo Bay left shore in the dark and picked up the survivors from the dangerous sea taking them back to safety. The US Secretary of State Cordell Hull at the time wrote individual letters of thanks to all the rescuers involved. The biscuit locker is of historical and marine archaeological significance because of its association with the wreck of the City of Rayville. The vessel is listed on the Victorian Heritage Register No VHR S126. Additional significance is that the ship was the first American vessel sunk in the second world war and is still socially significant to the descendants of the City of Rayville crew and the Apollo bay fishermen who took part in the rescue.The external surfaces of the cupboard and the inside of the door are painted brown. The interior is painted blue the door has 2 metal hinges attached on the outside, each with 6 single-slotted screws and a wooden rotating door latch attached to the side of the door. There is a round eyelet on the door near the latch, the cupboard sides are each made from wood joined vertically and sit within a slightly wider, flat base and top. The frame of the cupboard is split with the paint on the outside of the cupboard scratched and chipped revealing a darker paint underneath. There is also a rough slash of white paint from the side of the cupboard going to about the Centre of the door. “PI/298” is hand written in black pen, paint or ink on the inside panel of the door in neat letters. "MS CITY OF RAYVILLE" stamped on back of cupboard in black paintcity of rayville, cupboard, locker, biscuit locker, 1940, world war ii, wwii, cape otway, german mines, american ship, flagstaff hill, warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, rayvill

The maker of the ship model on the postcard was Dr C Nelson Longridge (1876–1952), an English surgeon, maritime author, and builder of detailed ship models. Other models include the SS Marioness and the steam yacht Asia. He also wrote the books 'Cutty Sark' and 'The Anatomy of Nelson's Ships'. The postcard was printed by B Matthews, Bradford, England, incorporated in 1970 as B. Matthews (Photo Printers) Limited. Collections of B Matthews' photo prints of famous painted portraits are held at The National Portrait Gallery of London. Copies of B Matthews postcards are today sought after by collectors. THE CUTTY SARK: - The Cutty Sark was built in Britain in 1869 and was one of the last great sailing ships. At first, it carried tea from China. Later, it was used to transport wool from Australia. It became famous for its speed and held the record for the fastest voyage from Australia to Britain for ten years. Later, a Portuguese company bought the ship and renamed it Ferreira. After that, a retired sea captain purchased it to use as a training ship in Cornwall. When the captain died, the ship was given to a training college in Greenwich in 1938. In 1954, it was placed in dry dock at Greenwich, where it remains on display. This postcard features a photograph of a model of the sailing ship Cutty Sark, making it significant because of its connection to this well-known vessel. The famous tea clipper transported wool from Australia to markets around the world. Models such as this one help us understand what sea travel was like before steam-powered ships became widespread, while also illustrating how trade, travel and migration developed over time. Cutty Sark was also celebrated for its speed. It broke records on the voyage from Australia to Britain and held this distinction for ten years. Its importance is still recognised today, as the ship has been carefully preserved and is now displayed at the British Maritime Museum in Greenwich. Its remarkable history has also made it a popular subject for model ship enthusiasts. The postcard is also valuable because it shows a model of Cutty Sark built by the renowned C. N. Longridge, who was not only a respected surgeon but also a skilled model maker and author of detailed maritime works. A further connection is found in the printer, B Matthews, who photographed and printed collections featuring famous people, model ships and maritime scenes, adding another layer of historical interest to the postcard. Postcard, black and white, showing a model of the sailing ship Cutty Sark. Printed details are provided on both the front and back of the postcard. Inscriptions include a brief description of the Cutty Sark, the location and maker of the model, and the printer's contact information. The postcard was printed in Great Britain.FRONT: " "CUTTY SARK" (1869) The famous clipper ship "Cutty Sark" still lies at anchor at Falmouth. In her day, she was famous as one of the fastest sailing ships, first in the China Tea Trade, and afterwards in the Australian Wool Trade. This model was made by Dr C.N. Longridge." "The Science Museum, London. No. 166." REVERSE: "POSTCARD" "COMMUNICATION" "ADDRESS" "Printed by B Matthews, Bradford, England"flagstaff hill, warrnambool, flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, maritime museum, great ocean road, cutty sark, historic sailing ship, tea clipper, sail training vessel, cadet training ship, commercial trading vessel, cargo sail vessel, clipper races, scott and linton of dunbarton scottland, race record, ferreria, 1869, tea cargo, tea trade, china tea, wool export, australian export, australian wool export, china tea trade, cornwall, training ship, greenwich, british museum, ship model, craft, hobby, ship model cutty sark, model making, postcard, c nelson longridge, charles nelson longridge, b matthews, photo printer, b matthews bradford england, b matthews (photo printer ) ltd.

The postcard is a copy of a painting by the renowned British maritime artist Jack Spurling (John (Jack) Robert Charles Spurling 1870-1933). Spurling's love for the sea was fulfilled as a teenager when he worked as an apprentice, eventually gaining a Second Mate certificate and going on to join the Blue Anchor Line as a junior officer. His love for the sea shows in his detailed paintings of ship portraits. THE CUTTY SARK: - The Cutty Sark was built in Britain in 1869 and was one of the last great sailing ships. At first, it carried tea from China. Later, it was used to transport wool from Australia. It became famous for its speed and held the record for the fastest voyage from Australia to Britain for ten years. Later, a Portuguese company bought the ship and renamed it Ferreira. After that, a retired sea captain purchased it to use as a training ship in Cornwall. When the captain died, the ship was given to a training college in Greenwich in 1938. In 1954, it was placed in dry dock at Greenwich, where it remains on display. The postcard depicts the clipper, Cutty Sark, which was a special ship because it carried wool from Australia to other parts of the world. Postcards like this one help us imagine what sea travel was like before steam-powered ships became common, and they show us how trade, travel, and migration evolved. The Cutty Sark is also famous for its speed. It set a record for the journey from Australia to Britain and kept that title for ten years. Today, people still recognise its importance because it has been carefully preserved and is on display at the British Maritime Museum in Greenwich. Its story has also made it a favourite subject for people who enjoy building ship models. The picture is a copy of a painting by renowned maritime artist Jack Spurling, who was famous for his ship portraits.Coloured postcard of the Cutty Sark. Photograph of a painting by J Spurling. flagstaff hill, warrnambool, flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, maritime museum, great ocean road, cutty sark, historic sailing ship, tea clipper, sail training vessel, cadet training ship, commercial trading vessel, cargo sail vessel, clipper races, scott and linton of dunbarton scottland, race record, ferreria, 1869, tea cargo, tea trade, china tea, wool export, australian export, australian wool export, china tea trade, cornwall, training ship, greenwich, british museum, postcard, coloured postcard, postcard of a painting, jack spurling, british maritime artist, ship portraits, john 'jack' robert charles spurling

Captain Richard Woodget (1845-1928) was renowned for his successful command of the Cutty Sark. He began his maritime career in 1861 as an apprentice seaman at almost 15 years old and received his Master Certificate in 1871. In 1881, aged 35, he took his first command on the vessel Coldstream. His sailing skill and careful financial management earned him the command of the Cutty Sark for ten of its voyages. For another year, he commanded the Coldingham, then retired from life as a mariner in 1896. The Cutty Sark was built in Britain in 1869 and was one of the last great sailing ships. At first, it carried tea from China. Later, it was used to transport wool from Australia. It became famous for its speed and held the record for the fastest voyage from Australia to Britain for ten years. Later, a Portuguese company bought the ship and renamed it Ferreira. After that, a retired sea captain purchased it to use as a training ship in Cornwall. When the captain died, the ship was given to a training college in Greenwich in 1938. In 1954, it was placed in dry dock at Greenwich, where it remains on display. The postcard is important for is connection with the vessel, Cutty Sark, a special ship because it carried wool from Australia to other parts of the world. Postcards like this one help us imagine what sea travel was like before steam-powered ships were common, and they show us how trade, travel and migration changed over time. The Cutty Sark is also famous for being very fast. It set a record for the journey from Australia to Britain and kept that title for ten years. Today, people still recognise its importance because it has been carefully preserved and is on display at the British Maritime Museum in Greenwich. Its story has also made it a favourite subject for people who enjoy building ship models. The postcard is important to Australian history, as it shows the Cutty Sark at Sydney on one of its voyages, in the command of Captain Richard Woodget, a respected mariner and master of sailing ships.Postcard: Black and white postcard of a photographed image of a 3-masted sailing ship, sails half-lowered. Behind the vessel is a hill with buildings on it. A white handwritten inscription is along the base of the postcard. The vessel is the Cutty Sark in Sydney Harbour in August 1891. Its master was Captain Woodget."CUTTY SARK IN SYDNEY HARBOUR. AUGUST 1891. CAPTAIN WOODGATE."flagstaff hill, warrnambool, flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, maritime museum, great ocean road, cutty sark, historic sailing ship, tea clipper, sail training vessel, cadet training ship, commercial trading vessel, cargo sail vessel, clipper races, scott and linton of dunbarton scottland, race record, transportation, ferreria, 1869, tea cargo, tea trade, china tea, wool export, australian export, australian wool export, china tea trade, cornwall, training ship, greenwich, british museum, captain richard woodget, captain woodget

The card is a copy of a painting by the renowned British maritime artist Jack Spurling (John (Jack) Robert Charles Spurling 1870-1933). Spurling's love for the sea was fulfilled as a teenager when he worked as an apprentice, eventually gaining a Second Mate certificate and going on to join the Blue Anchor Line as a junior officer. His love for the sea shows in his detailed paintings of ship portraits. THE CUTTY SARK: - The Cutty Sark was built in Britain in 1869 and was one of the last great sailing ships. At first, it carried tea from China. Later, it was used to transport wool from Australia. It became famous for its speed and held the record for the fastest voyage from Australia to Britain for ten years. Later, a Portuguese company bought the ship and renamed it Ferreira. After that, a retired sea captain purchased it to use as a training ship in Cornwall. When the captain died, the ship was given to a training college in Greenwich in 1938. In 1954, it was placed in dry dock at Greenwich, where it remains on display.The card depicts the clipper, Cutty Sark, which was a special ship because it carried wool from Australia to other parts of the world. Cards like this one help us imagine what sea travel was like before steam-powered ships became common, and they show us how trade, travel, and migration evolved. The Cutty Sark is also famous for its speed. It set a record for the journey from Australia to Britain and kept that title for ten years. Today, people still recognise its importance because it has been carefully preserved and is on display at the British Maritime Museum in Greenwich. The picture is a copy of a painting by renowned maritime artist Jack Spurling, who was famous for his ship portraits.Photograph: coloured image of the sailing ship Cutty Sark by artist J Spurling. The image is mounted on a card used as a greeting card. It has a printed inscription. "Greetings"flagstaff hill, warrnambool, flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, maritime museum, great ocean road, cutty sark, historic sailing ship, tea clipper, sail training vessel, cadet training ship, commercial trading vessel, cargo sail vessel, clipper races, scott and linton of dunbarton scottland, race record, ferreria, 1869, tea cargo, tea trade, china tea, wool export, australian export, australian wool export, china tea trade, cornwall, training ship, greenwich, british museum, postcard, coloured postcard, postcard of a painting, jack spurling, british maritime artist, ship portraits, john 'jack' robert charles spurling

This black and white photograph was taken when the SS Edina was as port at the Geelong Wharf in Moorabool Street. The Port of Geelong had many wool sheds alongside the wharf - wool was a major export product. ABOUT THE SS EDINA The three masted iron screw steamer SS Edina was built in Glasgow, Scotland, in 1854 by Barclay and Curle. She was adorned with the figurehead of ‘fair maid of Judea’. The many years of service made SS Edina famous world-wide as the longest serving screw steamer. (The term screw steamer comes from being driven by a single propeller, sometimes called a screw, driven by a steam engine.) SS Edina’s interesting history includes English Chanel runs, serving in the Crimean Ware carrying ammunition, horses and stores to the Black Sea, and further service in the American Civil War and later, serving in the western district of Victoria as well as in Queensland and carried gold, currency and gold prospectors Australia to New Zealand. SS Edina had the privilege of being an escort vessel to H.R.H. the Duke of Edinburgh during his visit to Australia in 1867. In March 1863 SS Edina arrived in Port Phillip Bay, Melbourne and was bought by Stephen Henty, of Portland fame, to work the cargo and passenger run from Melbourne – Warrnambool – Port Fairy - Portland. After a short time of working the run from Australia to New Zealand, with passengers and cargo that included gold and currency, she returned to her Melbourne - Warrnambool – Port Fairy run, with cargo including bales of wool produced in the western district of Victoria. The Warrnambool Steam Packet Company purchased SS Edina in 1867; she was now commanded by Captain John Thompson and Chief Engineer John Davies. She survived several mishaps at sea, had a complete service and overhaul and several changes of commanders. In 1870 SS Edina was in Lady Bay, Warrnambool, when a gale sprung up and caused a collision with the iron screw steamer SS Dandenong. SS Edina’s figurehead was broken into pieces and it was not ever replaced. SS Edina was re-fitted in 1870 then was used as a coastal trader in Queensland for a period. She was then brought to Melbourne to carry cargo and passengers between Melbourne and Geelong and performed this service 1880-1938. During this time (1917) she was again refitted with a new mast, funnel, bridge and promenade deck, altering her appearance. In 1938, after more collisions, SS Edina was taken out of service. However she was later renamed Dinah and used as a ‘lighter’ (a vessel without engine or superstructure) to be towed and carry wool and general cargo between Melbourne and Geelong. In 1957, after 104 years, the SS Edina was broken up at Footscray, Melbourne. Remains of SS Edina’s hull can be found in the Maribyrnong River, Port Phillip Bay. This postcard of the SS Edina is significant for its association with the screw steamer SS Edina and shows her at one of her trading ports on the Melbourne - Warrnambool - Port Fairy - Portland run. The SS Edina is heritage listed on the Victorian Heritage Database VHR S199. She had endeared herself to the people of Port Phillip Bay as a passenger ferry, part of their history and culture. She played a significant role in the Crimean War, the American Civil War and the gold rush in New Zealand. She also served western Victoria for many years in her cargo and passenger runs. The SS Edina is famous for being the longest serving screw steamer in the world. After spending her first nine years overseas she arrived in Melbourne and her work included running the essential service of transporting cargo and passengers between Melbourne and the western Victoria ports of Warrnambool, Port Fairy and Portland. The SS Edina was purchased in the late 1860’s by local Warrnambool business, the Warrnambool Steam Packet Co. and continued trading from there as part of the local business community. The SS Edina’s original ‘fair maid of Judea’ figurehead was broken to pieces in a collision with another vessel (the SS Dandenong) in a gale off Warrnambool, Victoria, in 1870.Black and White photograph of S.S Edina at the Moorabool Street Wharf, Geelong in calm water that shows the reflection of the steamer. Ship has no sails raised. The funnel has a light coloured base with a dark coloured top. There are people on board the steamer. Other ship masts and people are in the background. In the foreground is a jetty with a small boat beside it and a person inside the boat. There is a title printed along the base of the photograph. c. 1870's to 1930'sPrinted at base of photograph "S.S. "EDINA," Moorabool Street Wharf, Geelong"warrnambool, shipwrecked coast, flagstaff hill, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, shipwrecked artefact, barclay & curle, figurehead 'fair maid of judea', centenary maritime exhibition 1934, a brief review of steam navigation in victoria, pleasure steamer edina, trade and travel late 19th and early 20th century, trade melbourne to geelong, screw steamer edina, coastal trader edina, lighter dinah, cargo carrying for cremean war, cargo carrying for american civil war, passenger and trade in western district of victoria, export gold and currency and gold diggers to new zealand, export vessel to h r h the duke of edinburgh, melbourne - warrnambool - port fairy - portland cargo run, warrnambool steam packet company, stephen henty, captain john thompson, chief engineer john davies, lady bay warrnambool, lighter edina, shipping victoria, port phillip bay steamers, steamship great britain, edina, vhr s199 victorian heritage database, postcard of ss edina 1870's - 1930's

THE CUTTY SARK: The ship Cutty Sark was built expressly for the China Tea Trade and was involved in the famous tea clipper races between 1859 and 1872. It was designed and built by Scott and Linton of Dunbarton, Scotland. Cutty Sark holds the record with 363 knots done more than once. On one occasion, it managed speeds of 362 and 363 knots on two consecutive days. In 1872, it had the misfortune of losing its rudder while racing the "Thermopylae" but was able to continue the race after repairs.The photograph of the Cutty Sark is significant for showing a special ship which carried wool from Australia to other parts of the world. The photograph helps us imagine what sea travel was like before steam-powered ships were common, and they show us how trade, travel and migration changed over time. The Cutty Sark is famous for being very fast. It set a record for the journey from Australia to Britain and kept that title for ten years. Today, people still recognise its importance because it has been carefully preserved and is on display at the British Maritime Museum in Greenwich. Photograph framed black and white photograph behind glass, depicting the tall ship "Cutty Sark" in full rig. Figures are on deck. flagstaff hill, warrnambool, flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, maritime museum, great ocean road, cutty sark, historic sailing ship, tea clipper, sail training vessel, cadet training ship, commercial trading vessel, cargo sail vessel, clipper races, scott and linton of dunbarton scottland, race record, ferreria, 1869, tea cargo, tea trade, china tea, wool export, australian export, australian wool export, china tea trade, thermopylae

Collection of newspaper articles related to Ballarat School Of Mines.They cover activities and advertisements for staff. The papers concerned are The Courier, Ballarat, The Australian, The Age over the period of 20 November 1986 to 14 February 1987.Book with blue cover, front, spiral bound.courses available, tertiary orientation program, t o p, teaching positions advertised, smb programs, fashion of the future, clare schreenan, lisa willison, mary anne rowe, smb staff join protest, wool classing exams, smb secretarial program, women graduate with trades skills, linda bland, julie baulch, tracey coleman student, royal horticultural society of victoria, garden tools for field officers, helen mclennan course teacher, writing for pleasure, book launch "wednesday's words"june griffiths, nan gale, averil macklin, smb applied science grant, atomic absorption spectrophotometer, julie baulch encourages women to break with tradition, family centre space in tippett building, mellissa bone win photographic award, smb computer world's best, sue dennis, school's in for adults, smb vocational programs, university of the third age, ken flecknoe managing director courier retires

A puttee is a cloth band that was wound round a soldier’s leg from their ankle to their knee. They were designed to provide support when walking and protect against harsh weather conditions. Many Australian soldiers developed a painful medical condition during their service on the Western Front called trench foot. The primary causes were wet feet and unsanitary conditions but puttees were also partly to blame as they limited circulation to the lower leg and foot. These puttees are a collectors item, they are the real thing, used in WW1 and made a short return in WW2 and were used as ceremonial dress in Malaysia in the 1960s, these ones are WW2 issue. Used as military dress in world war one, briefly in world war II and ceremonial dress in Malaysia in the 1960'sOlive green wrapping wool mix wrapping 106cm long and q2cm wide with tape 103 cm long 1.5 cm wideNilputtee, leggings world ww1 1 ww2 malaysia cloth bans

This belt belonged to a WW1 Australian Anzac who most probably, because of the buttons and badges, served on the Western Front. Records destroyed in 1969 bush fires at Lara means we are unable to determine who owned this in the RSL. The belts is called a 'stable belt' and the one you have acquired is an early example with a leather pocket. It became common in WW1 for both, leather belts (especially that from the 1903 bandolier equipment as worn by those in the Boer War), and stable belts to be used to hold badges collected from fellow soldiers and for that reason it was often known as a 'souvenir belt'. The evolution of the stable belt: It seems that stable belts began to become popular across the Army as a whole around the turn of the 20th century, although they probably originated with the cavalry a little earlier sometime in the 1880s/1890s. All units at that time had horses on their establishment and those soldiers told off to attend them reported for Stable Parade in Stable Dress which consisted of very high waisted and pocket less breeches, or trousers, held up by braces and collarless, woollen flannel shirts with sleeves rolled up. This was to facilitate the rigorous physical effort and flexibility of movement necessary for mucking out and grooming. Braces at that time had no elastic as rubber was expensive, they were made of cotton with no 'give' whatsoever and so soldiers commonly allowed the braces to flop down from the waist so that they could bend over freely. For trousers that fitted loosely (due to the high waist) this meant that they tended to slip down and at first soldiers cinched them in with leather belts. Later on the regimental saddlers began to make belts from the same, plain canvas or wool strapping used for the horses Surcingle and utilising the same double leather strap and buckle arrangement for security (if one strap broke the other would hold and prevent the saddle from coming unseated). One particular feature of these early stable belts was a sewn on (or in) pocket, secured by a stud or clip, within which loose change could be kept, or a pocket watch, as there were no pockets in the breeches. As you might imagine these became very popular as the pocket was useful and the extra breadth afforded by the canvas strapping made them very comfortable. Around about the turn of the 20th century it began to be popular for officers to wear neckties in regimental colours both for sport and less formal, country dress. This habit probably began with the Queens Household troops and Line Cavalry, but quickly spread throughout the Army and it appears as if this use of regimental colours spread to the canvas or wool strapping used to make stable belts. For this reason the stable belts invariably followed the same colour scheme (but not always the same pattern arrangement) of regimental neck ties. This belt is an example of what Australian troops collected when on the Western Front during WW1 and when on leave.Leather Belt with 31 Badges and Buttons from WW1 attachedSee Mediaww1, world war 1, australian army, badges, button, belt, stable belt

Part of a nurses' uniform during the Second World War. Khaki wool felt hat with wide brim and burgandy-brown grosgrain ribbon band with bow on right side. The hat also has a grosgrain sweatband with a maker's label sewn in on the interior. This is marked in ink with manufacturers' label. Elastic chip strap on interior has deteriorated and broken in half.Label on interior reads "MADE IN AUSTRALIA/UIM/N451-1943/SIZE 6 5/8 - 21 1/4 in." second world war, world war ii, world war 2, world war two, wwii, nurse, medical, women

Part of a nurses' uniform during the Second World War. Khaki wool felt hat with wide brim and burgandy-brown grosgrain ribbon band with bow on right side. The hat also has a grosgrain sweatband with a maker's label sewn in on the interior. This is marked in ink with manufacturers' label. Elastic chip strap on interior is secure and matches colour of grosgrain.Label on interior reads "N513/1943/MADE IN AUSTRALIA/6-5/8"second world war, world war ii, world war 2, world war two, wwii, nurse, medical, women

Part of a nurses' uniform during the Second World War. No exact matches for a female "W Wilson" were found in research, though the hat could have belonged to Nancy Wilson, born in Carlton to W Wilson.Navy wool felt hat with wide brim and navy grosgrain ribbon band with bow on right side and black rising sun badge on centre front of ribbon. The hat also has a synthetic sweatband on the interior, on to which a cotton label has been sewn with the name "W. WILSON". Elastic chip strap on interior has deteriorated and broken in half.Label on interior reads "W. WILSON" second world war, world war ii, world war 2, world war two, wwii, nurse, medical, women

This beret was made in 1943 and presumably was used by during service in WW2. InfantryDark blue wool beret-style hat with black leather edging and black cotton tie at back. Two eyelets on right side, brass painted on exterior in black. Cotton-lined interior with reinforced sewn diamond in centre and manufacturer’s label, transcribed below.Manufacturer’s label reads “N.316 A./F./1943/MADE IN/AUSTRALIA/SIZE 7-1/8” wth faint purple stamp over top, illegible.second world war, beret, world war two, world war ii, wwii, uniform

This photograph was one of ten photographs donated to Flagstaff Hill Maritime Museum and Village by Fred Trewartha. Frederick John Fox Trewartha (Fred) was a well-known Warrnambool businessman. He was born in Beeac near Geelong in 1920 and came to Warrnambool with his family as a very young child. He was apprenticed to his father John, as a saddler and later opened his own shop on Raglan Parade. He then moved into working with tarpaulins and canvases for the trucking industry. Fred was keenly interested in photography (and was a member of the Warrnambool Cine Club), yachting and boat building. He kept his yacht moored at Port Fairy for many years and participated in sailing events locally and interstate. He also built boats with his sons. He had the opportunity to meet many older sailors and it's thought this photo (and others in the set) may have been given to him by one of these men. Fred Trewartha died in 2016 in Warrnambool. The "Strathgryfe" was a four masted steel barque built in 1890 by "Russell and Company", Port Glasgow and was owned by Duncan McGillivray (The Strathgryfe Ship Company Limited), Greenock. It arrived in Melbourne in December 1891 from New York. Between 1891 and 1910 it carried merchandise in and out of Australia to ports around the world - Melbourne to London (1892), Newcastle to San Francisco (1894), Capetown to Newcastle (1894), New York to Shanghai (1897), New York to Melbourne (1898), Frederickstadt to Melbourne (1899), Liverpool to Sydney (1900), San Francisco to Brisbane (1903), Newcastle to Pisagna, Chile (1905) and Rotterdam to Melbourne (1910). It carried breadstuffs from San Francisco, coal from Newcastle, wool from Sydney, saltpetre from Hamburg and wheat from Brisbane and Melbourne as well as a variety of general merchandise. In 1898, whilst on route between New York and Melbourne, it came across the Captain and crew of the missing barque "Glen Huntley" which had been reported as "lost" several months earlier. They had been marooned at Tristan D'Acunha (a remote group of volcanic islands in the South Atlantic ocean). Captain McIntyre, of the Strathgryfe, offered to bring Captain Shaw (of the Glen Huntly) on to Melbourne with them but the "old mariner" decided to stay on with his crew till arrangements could be made for rescuing the whole of them. In 1899, when in Melbourne, seven of its crew refused to go to sea in it due to its unsafe conditions. They said the vessel was unseaworthy and that the rigging was unsafe and the lifeboats, not watertight. The Captain (Donald McIntyre) denied the allegations and produced a marine surveyor's certificate as evidence of the condition of the vessel. The men were sentenced to three weeks imprisonment. In 1901 there was a fire on board the Strathgryfe just after it left Sydney for London which resulted in many bales of wool being destroyed. In 1902 it was beached at Shellback island (near Wilson's promontory) for several weeks and had to be considerably dismantled in order to lighten its load enough to allow tugs to pull it back into deep water. In 1910 it was sold to a German firm and renamed "Margretha". It continued to operate in Australian ports until 1914 when it left Sydney for the English Channel with 42,438 bags of wheat. However owing to W.W.1 breaking out, it made for the port of St Michael's where it remained for twenty-one months. Later it was seized by the Portuguese Government and renamed "Graciosa" and was leased back to the English Government. It was sunk by two German submarines in 1918.This photograph is significant as a record of the world wide mercantile trade Australia was engaged in at the end of the nineteenth century and beginning of the twentieth century.Black and white photograph of a four masted barque moored at a dock. The rigging and two lifeboats are clearly visible. Three large timber logs are in the foreground. On the back of the photograph, the donor's name and telephone number have been written in black ballpoint pen and the name of the ship has been handwritten (incorrectly) in pencil in cursive script.Back of Photo - donor's name and telephone number "Strarthgryfe" [Strathgryfe] / "late" / "Margurita" [Margretha]flagstaff hill maritime museum and village, warrnambool, great ocean road, shipwreck coast, strathgryfe, barque, steel barque, margretha, graciosa, frederick trewartha, mercantile trade, russell and company, merchandise, cargo ship, glen huntly, w. w. 1

The promissory note issued at Belfast, now Port Fairy, Victoria by the “Bank of Victoria” is an early example of currency issued by a private bank. This note was issued in 1853 the same year that the bank commenced business in Belfast. Details of the first production of a banknote backed by the Australian Government occurred on 1 May 1913 following the "Australian Notes Act of 1910" (Australian National Museum). The first building the Bank of Victoria purchased in Belfast was of timber and later sold. Smith & Watts Architects advertised for tenders in the Melbourne Argus on Thursday 29/4/1869 for the erection of a substantial building that is now occupied by Moyne Shire Council in Cox Street. A meeting of the Directors of the Bank of Victoria elected on 1 October 1852. A ballot took place for four directors resulting in Wm. Highett Esq. Wm F. Splatt, Esq. M.L.C., Alex. Wilson, Esq. and W.H. Tuckett” elected as Directors. It was reported from a later meeting in “The Argus” Melbourne on 3 August 1853 that a branch had opened in Swanston Street, Melbourne on 3rd January 1852 with Henry Miller as Chairman of the Board and J. Matheson as the Manager; followed by Geelong on 12 August 1852. Then at the request of “influential inhabitants”, the Belfast branch commenced on 11 May 1853, which had “already met with very general support and encouragement”. This was a colonial bank at the time of vast pastoral runs and gold speculation – how "Mr Thomas [....ton?]" came by his fortune of One Hundred and Twenty-Seven Pound and five shillings can only be wondered at until further research reveals the story. This promissory note records the early colonial system of banking and reflects the economic growth and entrepreneurship of the South West Region of Victoria.Banknote of fine paper. There is a fold multi-crease down the centre top to bottom, lighter creasing across the top and angular creasing to the bottom left and right-hand corners. Yellow spotting is visible across the object breaking through the grey blue colour of the paper. A dark ink blot appears near the top right-hand corner. The left-hand side of the banknote is uneven. The back of the document has darker spotting, a used dirty look patina and some insect spotting. Horizontal crease markings can be seen creating quarter marks. The front of the banknote reads: "No.41/ Exch.ge for £127.57- Bank of Victoria/Issued at 1% prem/Thirty days after Sight of this Third of Exchange/First and Second of the same tenor and date being unpaid pay to the order of/Mr. Thomas [Raliston?]/One hundred and twenty seven pounds five shillings Sterling silver received/To the Manager of the London Westminister Bank London/for the Bank of Victoria [signed?] Manager/Ent.d [?] Robertson Account.t. The blue printed Bank of Victoria logo features a world globe, sailing ships, wool bails, sheep, colonial building and mining tools. flagstaff hill, warrnambool, maritime village, maritime museum, flagstaff hill maritime museum and village, shipwreck coast, great ocean road, promissory notes, bank notes, bank of victoria, smith & watts, smith & watts architects, 1853, william highett, william f. splatt, alex wilson, w.h. tuckett, henry miller, money miller, belfast (now port fairy), banknote