"Krantz Schussfadenrichter (weft straightener)" - H. Krantz Appreturmaschinen - Fabrik, Aachen, Germany.Pamphlet / catalogue for a Krantz Schussfadenrichter (weft straightener) by H. Krantz Appreturmaschinen - Fabrik, Aachen, Germany, c.1960s.textile machinery, h. krantz appreturmaschinen-fabrik

James Murgatroyd worked in textile mills in England, Victoria and NSW. His son Fred worked as a loom tuner at Yarra Falls, Tweedside and Collins mills in Victoria as well as in Sydney, and studied at Leeds University.The Murgatroyd CollectionFEDERAL MILL - 1918/ WEFT WINDING DEPT FILM No13textile machinery textile mills weaving mills textile mills - staff textile mills, federal woollen mills ltd tweedside woollen mills yarra falls mill collins bros mill pty ltd, winding, murgatroyd, mr fred murgatroyd, mr james, textile machinery, textile mills, weaving mills, textile mills - staff

Taken from Collins Mill around 1984.Painted rectangular sheet metal sign reads "SHORT Mule Weft Bobbins ONLY". The sign is painted on one side and has a white background with a green strip around border.SHORT(red paint) Mule Weft Bobbins (black paint) ONLY (red paint)collins mill, signs, textile industry, wool, bobbins, weft

James Murgatroyd worked in textile mills in England, Victoria and NSW. His son Fred worked as a loom tuner at Yarra Falls, Tweedside and Collins mills in Victoria as well as in Sydney, and studied at Leeds University.The Murgatroyd Collectiontextile machinery textile mills weaving mills textile mills - staff textile mills, federal woollen mills ltd tweedside woollen mills yarra falls mill collins bros mill pty ltd, winding, murgatroyd, mr fred murgatroyd, mr james, textile machinery, textile mills, weaving mills, textile mills - staff

The doiley was worked by Betty Harrison, wife of Don Harrison. It is a sample of cutwork embroidery. The doiley was worked and when finished the pattern was cut out, leaving the centre uncutThe doiley is a part of a handcraft kit sold by Fautleys fancy work shops, and Needlework shops. Needle work such as embroidery was a very popular social activity during that era. T & A Fautley & Sons operated from Brunswick around 1920's - 1950's.Unfinished piece of cutwork in shape of oblong doiley. Brown cotton thread has been worked to shape star-shaped flowers at each end as well as the bordersFautley's Linen-Weft 5 x 11 No. 1863handcrafts, embroidery

Caulking is the use of cork or other substances to seal the seams and joints of the vessel to make them watertight. Caulking lasts for quite some time but eventually dries out and needs to be replaced. A hammer is often used with a caulking iron to drive it along the seams. The caulking iron’s blade is tapered to be narrower at the tip to make it easier to remove it from the joint. The shipwright’s tools on display in the Great Circle Gallery are connected to the maritime history of Victoria through their past owner, user and donor, Laurie Dilks. Laurie began his career as a shipwright in the mid-1900s, following in the wake of the skilled carpenters who have over many centuries used their craft to build and maintain marine vessels and their fittings. You can see Laurie’s inscription on the tool called a ‘bevel’. Laurie worked for Ports and Harbours, Melbourne, for over 50 years, beginning in the early 1960s. He and a fellow shipwright inscribed their names on a wheelhouse they built in 1965; the inscription was discovered many decades later during a repair of the plumbing. Many decades later Laurie worked on the Yarra moving barges up and down the river and was fondly given the title ‘Riverboat Man’ His interest in maritime history led him to volunteer with the Maritime Trust of Australia’s project to restore and preserve the historic WWII 1942 Corvette, the minesweeper HMAS Castlemaine, which is a sister ship to the HMAS Warrnambool J202. Laurie Dilks donated two handmade displays of some of his tools in the late 1970s to early-1980s. The varnished timber boards displayed the tools below together with brass plaques. During the upgrade of the Great Circle Gallery Laurie’s tools were transferred to the new display you see there today. He also donated tools to Queenscliffe Maritime Museum and Clunes Museum.The shipwright’s tools on display in the Great Circle Gallery are connected to the maritime history of Victoria through their past owner, user and donor, Laurie Dilks. Laurie began his career as a shipwright at Ports and Harbours in Melbourne in the mid-1900s, following in the wake of the skilled carpenters who have over many centuries used their craft to build and maintain marine vessels and their fittings.Caulking iron, or broad chisel, wooden handle with reinforcing on the ends, metal shaft that tapers down from the handle to the end of the blade. It has an inscription. It once belonged to shipwright Laurie Dinks.Stamped into metal " - - WARD /(image of crossed swords) WEFT / WARRANTED"flagstaff hill, warrnambool, great ocean road, shipwreck coast, maritime museum, maritime village, shipwright, carpenter, shipbuilding, ship repairs, hand tool, equipment, ship maintenance, cooper, tool, marine technology, caulking iron, jerry iron, broad chisel, caulking, sealing, laurie dilks, l dilks, port and harbours melbourne

These shawls were copied from the embroidered shawls of Cashmere made in India. At the height of their popularity nearly every bride was given one on her wedding day.Paisley shawl with silk warp threads of pink, red, black and yellow, weft of white wool.textile, weaving, shawls, 1860-80, scotland

Fred Murgatroyd worked as a loom tuner at Yarra Falls, Tweedside and Collins mills in Victoria as well as in Sydney, and studied at Leeds University.Murgatroyd Photograph CollectionF Murgatroyd Federal/ Pirn - (weft) winder c 1918-1919textile machinery textile mills weaving mills textile mills, collins bros mill pty ltd tweedside woollen mills yarra falls mill federal woollen mills ltd, murgatroyd, mr fred murgatroyd, mr james, textile machinery, textile mills, weaving mills

Embroidered by Lady Amies on an overseas trip 1965/66The design is by a child, worked by Lady Amies. The simple figures are embroidered in gold, white and black on a cotton material with a yellow warp and orange weft.embroidery, panel, 1960-80, norway, surface stitchery, angels

Woven by Miss Rachael Grieves ( a well known Australian weaver.)Hand woven towel using natural coloured warp and pink weft in linen thread. The very simple abstract design woven near the hem is the only decoration.weaving, towels, 1900-20, australia

Pieces of cloth of gold woven with silk warps and gold threads weft. The selvedge has a decorative band of lions, stages and horses with flowers and scattered motifs on the main area. weaving, india, fragments

Cloth of gold is a luxurious, historically significant fabric woven with real gold (or gilt) threads, often wrapped around a silk core, creating a stiff, heavy, and incredibly expensive material used for royal robes, tapestries, and ceremonial vestments, symbolizing immense wealth and power, famously seen at the Field of the Cloth of Gold event. One of two pieces of a sari, cloth of gold woven with silk warps and gold thread weft. The selvedge has a decorative band of lions, stags and horses with flowers and scatterd motifs on the main area.

Handmade material woven and embroidered by donor when at the Windermere School of Embroidery, England.Hand woven yellow cotton warp and a blue silk weft thread. The embroidered apple blossom is worked in laid stitch with a heavy twisted thread. Also sprays of blue based flowers with green stamens.embroidery, panel, 1900-20, england, silk embroidery, european

Weaving is the interlacing of two yarns, one at right angles to the other. Yarns that run the length of the fabric are called the warp. Yarns that run across the fabric are called the weft. Most woven fabrics are produced on a loom. The warp yarns are raised to form an opening - the shed. The weft carrier, usually the shuttle, shoots through the shed. Then the warp yarns change position up and down. Finally, the weft is pushed tight against the previous yarns, gradually building up the fabric. Hattersley dobby loom. In working order, black painted cast iron.weaving, george hattersley and sons ltd, weaving machinery, loom, wool processing, textile industry

Pirn, or weft spool. Companion part to a shuttle, used in a loom. Shuttle looms disappeared in the 1960's .Pirn, hollow and wooden, with incised lines along its length, narrower at the conical base.weaving, pirn

Pir, or weft spool. Companion part to a shuttle, used in a loom. Shuttle looms disappeared in the 1960's .Wooden pirn, with metal rim at top and at wider base. Lines incised into pirn half way up.weaving, pirn

Weaving is the interlacing of two yarns, one at right angles to the other. Yarns that run the length of the fabric are called the warp. Yarns that run across the fabric are called the weft. Most woven fabrics are produced on a loom. The warp yarns are raised to form an opening - the shed. The weft carrier, usually the shuttle, shoots through the shed. Then the warp yarns change position up and down. Finally, the weft is pushed tight against the previous yarns, gradually building up the fabric. Hattersley treadle loom (revolving box hand loom). Beam of loom was removed and sent to Foster Valley Mill in 1989 to be returned via Tom Crocker. The National Wool Museum gratefully acknowledges the contribution of Mr Fred Murgatroyd & Mr Bernard Tolan in making this Hattersley Loom Operational. Green painted Hattersley treadle loom (revolving box hand loom).weaving, george hattersley and sons ltd, weaving machinery, wool processing, loom, restoration

Liliga Eline Duks-stepe was a Sunshine resident. Her husband was Nickolas Duks-Stepe, born in Latvia. They lived at 16 Hoad Street Sunshine North circa. 1965-1974.2 woven wool wall hanging rugsThe Wall hanging is designed and woven by Lilija Duks-Stepe. The design is based on Latvian traditional design elements and rules. The main element is "The Sun" symbol, the bearer of life. The other element "Austra Tres", the tree of light, or of the dawn-Austra-free which the sun rises in the morning. The wall hanging is woven in "Weft-faced, Patterned weave with tie down technique ona draw loom, 20 shafts, double harness setup. The warp is linen, the weft is wool. October 1985 Signed Lilija Duks-Stepelatvia, rug , lilija duke-stepe

Gladys Reed was a member of the Ormond Choral Society c 1950. who performed plays and musicals in the City of Moorabbin and she made this nightdress c1950 Crepe de Chine, also spelled Crêpe De Chine, (French: “crepe of China”), light and fine plain woven dress fabric in silk, wool, or synthetic fibre fabric with a distinctively crisp, crimped appearance produced either with all-silk warp and weft or else with a silk warp and hard-spun worsted weft. This material was easy to sew, wash and dry and required no ironing . . This crepe de chine nightdress is an example of the popular style worn by women in the post World War 11 Estates in the City of Moorabbin c1950 A lady's floral crepe de chine, full length, nightdress with shoulder straps and waist ties clothing, nightdress, crepe de chine, theatrical props, craftwork, sequins, beading, early settlers, moorabbin shire, mechanics institute cheltenham, ormond choral society, postworld war 11 settlers, housing estates moorabbin 1950, bentleigh, ormond, moorabbin, cheltenham, drama societies, musical society cheltenham, clark judy, reed gladys, reed george

This lady's jacket would have been worn for special occasions by an early settler of the Moorabbin Shire c1900. Bombasine material was usually black and worn during the mourning time. It has a dull, twilled surface with a silk warp and worsted wool weftA lady's shiny black Bombasine dress jacket with embroidery at buttonsclothing, brighton, moorabbin, pioneers, sewing, dendy henry, early settlers, craftwork, jackets

When donated by Mrs Docherty in 1991 it was described as a Scottish sideboard runner dating from the 1860s.Embroidered textile formerly used as a table runner. When donated by Mrs Docherty in 1991 it was described as a Scottish sideboard runner dating from the 1860. The design and construction of the fabric is probably Indian in origin. It includes an extensive use of silver bullion on a cream silk ground to define the areas of abstract floral patterning. The warp or weft of the cream silk ground has disintegrated in sections.textiles - international, embroidery, table runners

Handwoven and embroidered Guatemalan wall decorations are traditional Mayan folk art pieces created using backstrap looms and intricate hand-embroidery techniques like brocade, darning, and randa stitching. Key Features of Guatemalan Wall Textiles Backstrap Loom Weaving: Panels are woven on a traditional backstrap loom where the weaver uses body tension to control the warp and weft threads. Pattern Darning and Brocade: Artisans use supplementary-weft techniques—such as brocade (randa) and darning—to build geometric, zoomorphic, and nature-inspired motifs like quetzals, deer, horses, and floral mandalas. Regional Craftsmanship: Many distinct pieces originate from highland communities like Chichicastenango and Santiago Atitlán, where multi-purpose textiles like tzutes or ceremonial huipils are crafted.Hand woven striped cotton, black back ground,brown and white tones. Large central band has 4 large quetzel birds, 2 narrow bands have 11 figures in pattern darning. Ends are fringed.embroidery, wall hanging, pattern darning, south america, 1960-80

Hair curling tongs were used by women 1800 - 1950 to create appealing curls and ringlets in their hair. To achieve ringlets, the tongs were heated on a gas ring, stove top or flame and then thick weft of hair was wound around one side of the tongs. The tongs were then 'crimped' together and upon release a long ringlet of hair resulted . If the tongs were overheated the hair was singed producing a lingering malodour. A pair of lady’s steel tongs, with no clamp, for hair curling. toiletries, hairdressing, early settlers, market gardeners, moorabbin, bentleigh, cheltenham, marcel waves

Expressions 2004 Quilt PrizeWeaving consisting of four panels sewn together to form the quilt. Consists of gradations of green to blue colours containing flecks of multicoloured wool through the weft. Weaving forms raised zigzag pattern running left to right through quilt. Three woven blue panels are sewn to the front of the quilt with dyed dark blue zigzags. The quilt is hung on a cardboard roll at the top. Satin square containing the artist's name and address sewn onto the back of the quilt in the right hand corner.'Cross Currents', Jean Inglis, 13 Park Street, Geelong, 52295131weaving, inglis, jean - geelong handweavers and spinners guild inc.

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

This dress was made for the Melbourne Show in 1993 and won 3rd prize. It was designed by Jean Inglis who was inspired by the Blue Triangle Butterfly (Scientific name: Graphium sarpedon choredon). The Warp was 2/24 commercially brought black wool with a “tie down” thread of black polyester and Weft of the same 2/24 wool 2 ply. Jean utilised a twill technique devised by Theo Morgan in creating the dress. The dress was handwoven by Jean Inglis with the help of Ruth Rondell with some of the pattern and final sewing. Black dress stretching from below the knees, reaching up to the neckline and down to the hands in the sleeve. The dress has three butterflies attached to the front approximately 50mm in diameter going from right knee to left hip in a nonvisible diagonal line. Lower half of dress has ten thin blue & green lines of varying lengths, reaching a max height of the hip. The neck of dress has four frills of blue and green colour. The longest two frills are in the centre pointing diagonally outwards towards the hands. The second layer of frills is shorter and further around the neckline towards the shoulders. The dress is completed with a cape of blue and green colour with a thick black seam separating each segment of colour. The cape sits on the shoulders and droops to a height of the hips. At the rear, the cape reaches the height of the rump. The cape has two draw strings for tying to the shoulders. wool, butterflies, melbourne show, butterfly

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

This edition includes a report on the The Apollo Parkways Progress Association's October 1976 meeting, Arts & crafts issue, A local art/craft who's who, Keeping embroidery alive, Creation pangs, We're hooked!, Warp & weft, Road signs, symbols and your child's art, Hooking your own rug, Cameo of Ron Reynolds, Diamond Valley Arts Society, From the Council Chamber, Letter to the Editor, Nursing Mothers Association, Diamond Valle Repertory, Kinder news, Scout and Guide news. Supplement to "Community News" No. 10/76. Women's Recreational Program. A digital copy of this Newsletter is available from Greensborough Historical Society. Newsletter, 28 p., illus.greenhills and north greensborough progress association, greenhills, apollo parkways progress association

The wool for this jacket began on the back of two sheep many kilometres apart. The first fleece for the warp was shorn from a single Merino at Currotha in Moree, NSW. The wool was 21-22 micron and the bloodline is a cross between Bundemar, Rossmore and Eural. The second sheep that provided wool for the weft was shorn in Beaufort, Victoria. It was a single Corriedale fleece shorn at Niawanda. The distance between these two towns is approximately 1250kms; a 15-hour car ride between paddocks. The two fleeces were spun and weaved together by the donor’s mother, Marjorie Allnutt. A level of talent is required to spin Merino fleeces. It is easier to spin cross bred wool, such as Corriedale, because it is less dense and much easier to comb, card and then tease out for a spinning wheel. The donor Philip Allnutt had a suit tailored out of the completed fabric at Ravensdale J & Son, 37 Swanson Street, Melbourne. The tailor was then a member of the Master Tailors Federation of Victoria. The business closed around 1986. Adding to the jacket’s story is its relationship to the household board game “Squatter”. Marjorie Allnutt was the sister-in-law of Robert Crofton Lloyd, the inventor of the wool themed boardgame. With more than 500,000 games sold in Australia as of 2007, it is the most successful board game ever produced in the country. The original “Squatter” board game is located within the National Wool Museum’s Collection. Philip Allnutt donated the Jacket to the National Wool Museum Collection in 2021. Cream singled breasted jacket with a narrow overlap and one column of buttons for fastening. The jacket features notched lapels of a medium width and two buttons of a cream & brown marble. The jacket has three visible pockets. A jetted pocket with no flap is on the right breast. A further two jetted no flap pockets finish an inch above the hem, on either side of the opening. Internally, the jacket features a further two pockets and a white silk lining for comfort. At the cuffs, the jacket utilises another 2 buttons of the same cream & brown marble.merino, currotha, moree, nsw, niawanda, corriedale, beaufort, victoria, hand spun, hand weaved

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