Poster promoting the Australian wool product collection.Australian wool product collection/ Woolmark Woolblendmarkwool marketing

Poster promoting the Australian wool product collectionAustralian wool product collection/ Woolmark Woolblendmarkwool marketing

Contents include Education, Processing and Manufacturing, Rural Equipment, Services, Rural Tourism, Sheep, Trade / Commerce / Finance, Wool Craft, Wool Organisations / Associations, Wool Products. Eighty eight page booklet showing an image of sheep on the cover, with printed text.front: [printed] WOOL PAGES / Directory 2004 / Compiled by Australian Wool Showcase / australian wool / innovation / limitedwool, organisations, directory, rural equipment, manufacturing, tourism, wool craft, wool products, education

Spool of Spun Wool. Product of Stawell Woollen Millsstawell

The yarn was made in Geelong in the late 1980's or early 1990's by local woolen manufacturer J.L. McGregor Pty Ltd. The company closed in the early 1990s. The McGregor family still live in the Geelong area.A ball of grey yarn, 50% wool and 50% acrylic with a plastic label surrounding the wool with the product details.On Label: McGregors 50 Grams at standard condition 50% Wool 50% Flame resistant Acrylic Below Logo: Wool and Nu Acrylicwool, j.l. mcgregor pty ltd, yarn, geelong wool, geelong, geelong woollen mills

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."Playing cards featuring Onkaparinga sales mottos and picturesOnkaparinga Pure Wool Blankets/Australia’s Best/Rugs, Blankets, Piece Goods, Men’s and Boy’s Clothing/Made from Pure Wool In White Pink Blue Green And Primrose/The Home Of The Famous Onkaparinga Pure Wool Products/White And Coloured Blankets Give Individuality And Charm/Made In Australiablanket fever, wool, playing cards, advertisements, onkaparinga

This cap belonged to Mark Pullen, a cub scout from Highton, Geelong, Victoria. No information is available on Mark Pullen. In Warrnambool there are three scout groups – Allansford, Norfolk (scout hall at the corner of Raglan Parade and Kepler Street) and Tooram (scout halls at the corner of Timor and Banyan Streets and in Otway Road). Cub scouts in Victoria are aged between 8 and 10. This cap has no known local provenance but is a useful item for display.This is a cap made of dark green wool with narrow gold braid dividing the crown into six sections. A button is missing from the top. The badge on the cap is a circular patch with the scout emblem in yellow and green. The cap is lined with black material with a white centre.Hills Hats Size 7 Name: Mark Pullen Group: 1st Highton Fabric Content all wool Scout Approved Product Made Expressly for the Scout Association of Australia Made in Singapore scouting in australia, scout association of australia, mark pullen, highton, geelong, fleur de lis, fleur de lys

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.Cassette tape featuring image of a woman in black and white clothing.front: Talking Wool / Brought to you by / PURE NEW WOOL / AWRAP / ANZ spine: Talking Wool / August / 1994 / 5 back: Contents / SIDE ONE / AWRAP and IWS Intergrate Activities / by Mac Drysdale, Chairman, AWRAP, / Chairman, IWS / Changes to Quality Arrangements / by John O'Connor, General Manager, / International Market Development, AWARP / Pitti Filati Yarn Fair, Florence / by Terry Hennessey, General Manager, / National Marketing, AWRAP / Menswear in the US / by Judith Pinder, Associate Product Manager, / Menswear, IWS - Americas / SIDE TWO / Review of R & D Functions / by Mac Drysdale, Chairman, AWRAP / China Wool Product / by Bill Jones, Co-ordinator AWRAP/AIDAB / (Australian International Development Assistance / Bureau) China Wool Project / AWRAP in India / by Stuart Ascough, International Market Executive / (Early Stage Processing) / Produced by SG Communications Pty Limited. / ACN 063 021 796 © Copyrightstuart ascough, international wool secretariat, victoria wool processors, port phillip mills pty ltd, topmaking, career, wool industry, training, technical advice, mills, cassette tape, audio

The object was presented to Brintons Carpets in 1999 as a thankyou gift for ongoing support along with one 'The Egyptian' Rug.W7186 Page 1 of a history of Brintons Carpets. Page 2 of a history of Brintons Carpets. A list of catalogues/items in the Brintons Collection donated after closure of Fellmongers Road factory in July 2008.To all at Brintons Carpets to thank you for your ongoing support of the National Wool Museum February 1999 E.Triarico Curator Michael Jerinic Old Weaver Andrew Moritz Director Bill Vos x Brintons Weaver 1960 Annette Welkamp Pharaohs Project Manager National Wool Museum Rug The Egyptian A unique wool rich product Certificate of Authencity This is to certify that Brintons Carpets is the owner of a National Wool Museum Limited Edition Rug No. 106.national wool museum brintons australia pty ltd, triarico, ms elizabeth - national wool museum moritz, mr andrew - national wool museum, geelong, victoria

Scouring is the process that removes wool wax and other unwanted products from wool. Wool is washed in a hot detergent solution. It moves through a series of scouring bowls and is then rinsed and dried. Careful handling and washing preserves the strength and softness of wool. If the wool contains lots of seeds and other vegetable matter, it must be cabonized. This means it is treated with a solution of sulpheric acid and then baked at high temperature to remove impurities. The disused scouring water left-over from this process was often let drain into rivers and watercourses causing pollution. Many of Geelong's wool scours along the Barwon River were closed due to environmental damage. The race system on this bowl is not the original it has been modified with a variation of the harrow system. Used at E.P. Robinson South Geelong from c.1890-1970.Scouring bowl.J. Dyson & Sons Pty Ltd, Geelongsouring bowl, j dyson & sons, geelong, wool processing, e. p. robinson, textile industry, factory, mill

On the 1984 Los Angeles Olympic Uniforms donator Doug wrote- During the 1980s the Australian wool industry was at its most prosperous times with record numbers of sheep producing wool receiving ever increasing values due to the success of the Reserve Price Scheme, and the overall guidance of the Australian Wool Corporation (AWC). As a humble technician, my role was a low profile newly created position of “Controller, Technical Marketing” where wool was to be marketed on its technical properties, as distinct from the “Product Marketing Group” which exploited trhe traditional high profile approach of marketing wool;s superior fashion attributes. The Woolmark was the tool central to this approach. When the forthcoming Los Angeles Olympic Games was announced, the Product Marketing Group seized upon the chance to show the world that we could make top fashion garments and display them on our elite athletes on the world stage. A concept was launched using a contemporary top designer, Adel Weiss, with the most exclusive fabrics and knits available, and all with a lot of hype. This launch failed dismally for the following reasons- - The designer did a wonderful job presenting an excellent fashion range on perfect skinny models. The AOC however wanted a uniform which had an obvious Australian appearance when fitted to elite, and frequently muscular, athletes. - The fabrics chosen did not reflect the performance required by travelling athletes, there was no recognition of the need for ‘easy care.’ - There was no recognition given to the problem of measuring, manufacturing and distribution of a range of articles when the selected athlete could be domiciled anywhere in Australia. - There was no appreciation of such historical facts as Fletcher Jones, who had been unofficial suppliers dating back to the 1954 Olympics in Melbourne, and the Fletcher Jones board member, who was also an AWC board member, and was not in favour of the change. The project passed from Product Marketing to Public Relations, a big spending off-shoot of the AWC Chairman David Asimus, and due to the day to day operations of the project was passed to me and PR took care of the financial matters. The first task was to meet with the AOC and find out exactly their requirements. This lead to the production of a design and manufacturing brief, cointaining exact time lines for each event required to ensure an appropriate uniform on every athlete chosen to represent his/her country on the date given for the Opening Ceremony in Los Angeles. Working backwards the timeline becomes- 1. Noted the exact date of the Opening Ceremony. 2. Estimated the date for distributing completed garments to each athlete. 3. Estimated the time span available for measuring each athlete and commence making each component of the ensemble to the individual measurements of each athlete. 4. Decided the date for making the final choice of uniform design concept. 5. Decided the date for distribution of the design brief to selected designers. These five steps were spread out over a two year period. The Commonwealth Games occur midway between each Olympic Games, work on the Olympic uniform commences the week after the Commonwealth Games closing ceremony and MUST be ready by the prescribed day two years hence. The project also had to remain cognisant of trade politics existing within the span of the task, as well as the temperament of designers in general. It is no overstatement to say that in the past every designer in Australia believed they could, and should, be chosen to design the Australian Uniform. The final choice of designer almost always faced criticism from the fashion press and any designer who had been overlooked. However, with the contenders receiving an exacting brief the numbers of serious contenders greatly reduced. The Los Angeles Olympic Uniforms. A further reason for the AWC bid failure to design the LA uniform was that the AOC had already chosen Prue Acton to design it. This was based on her proven performance during previous games as she had a talent for creating good taste Australiana. Her design concepts also considered the effect when they were viewed on a single athlete as well as the impact when viewed on a 400 strong team coming on to the arena. A blazer trouser/skirt uniform in bright gold was chosen for the formal uniform. It was my task to select a pure wool faille fabric from Foster Valley weaving mill and have sufficient woven and ready within the prescribed timeline. The trouser/skirt fabric selected was a 60/40 wool polyester plain weave fabric from Macquarie Worsted. This fabric had a small effect thread of linen that was most attractive when dyed to match some eucalyptus bark Prue had brought back from central Australia. For the Opening Ceremony uniform, Prue designed a series of native fauna, a kookaburra for the men’s shirt and a pleated skirt with a rural scene of kangaroos, hills and plants. This presented an insurmountable printing challenge to the local printing industry as it had an unacceptably large repeat size and the number required (50) was also commercially unacceptable. The solution was a DIY mock up at RMIT and the employment of four student designers. The fabric selected for this garment was a light weight 19 micron, pure wool with a very high twist yarn in alternating S and Z twist, warp and weft. This fabric proved to be the solution to a very difficult problem, finding a wool product which is universally acceptable when worn next to the sin by young athletes competing in the heat of a Los Angeles summer. Modifications to this fabric were developed to exploit its success when facing the same problem in future games. Garment Making- The most exacting garment in the ensemble is the tailored blazer, plus the related trouser/skirt. Unfortunately tailoring athletes that come in various shapes and sizes such as; - Weight lifters develop an enormous chest, arms and neck size. A shirt made to a neck size of 52 would produce a shirt with cuffs extending well beyond the wearer’s hands. - Basketball players are up to 7 feet tall and garments relying ona chest measurement grading would produce a shirt with cuffs extending only to elbow length. - Swimmers develop enormous shoulders and slim hips, cyclists by contrast develop thighs I liken to tree trunks and a uniform featuring tight trousers must be avoided at all cost. Suffice to say many ensembles require specialist ‘one off’ treatment for many athletes. Meanwhile there is a comfortable in between group who can accept regular sizes so you can cater for these by having back up stock with plenty of built in contingencies. Athletes may be domiciled anywhere in Australia, this creates a fundamental problem of taking their measurements. The Fletcher Jones organisation was key to answering this problem due to their presence in every capital city, as well as many provincial towns around Australia. Each athlete on being selected for the Olympic Team was simultaneously requested to visit their nearest Fletcher Jones shop. The standardised measurement data collected was shared with the other manufacturers, e.g. Pelaco Shirts, Holeproof Socks and Knitwear, Maddison Belts, and even Hush Puppy Shoes. As the time for the Games approached the AOC made arrangements for combining meeting of all. Selected available athletes at the Australian Institute of Sport, Canberra, where, among other things, they were fitted and supplied with their uniform. The method evolved as follows.Men’s cream coloured button up, collared shirt. Images of a kookaburra have been printed onto the shirt, a single kookaburra on the left breast and a pair of kookaburras on the reverse of the shirt. The kookaburras are printed in a brown tone to complement the cream colour of the fabric.On tag - FMaustralian wool corporation, 1984 los angeles olympics, olympic uniforms, men's uniforms, sport, athletes

These cards, presumably part of a pack of cards (or two packs) are an advertising tool for Warrnambool rugs made by the Warrnambool Woollen Mill. The Warrnambool Woollen Mill in South Warrnambool was opened in 1910 with John Bennett the first manager. It produced woollen blankets and rugs and woollen products during the war years for military purposes. It closed in 2000.These cards are of interest as an advertising tool for the Warrnambool Woollen Mill which was a major industry in Warrnambool for 90 years. It shows the advertising techniques used by businesses in the 20th century.These are two regulation-size playing cards, both showing the five of clubs, with a colour advertisement for Warrnambool Rugs on the back. The advertisement features an assortment of Warrnambool woollen rugs. On back of cards – ‘Warrnambool Rugs, pure wool’warrnambool woollen mill, cards

The Warrnambool Shire commenced in 1863 and was 613 square miles in area and had a population of about 8000. It was divided into three ridings each with three councillors. Its industries were dairying, general farming, cheese and butter making, wool growing, sheep and cattle raising. There are more than 20 parishes and more than 29 small townships in the area The industries, agriculture, and people of the Warrnambool Shire provided substantial support to the city of Warrnambool over a long period of time. Three audio reel to reel tapes two in green and white boxesShire Centenary meeting 1963 tape1, 2, 3. depth. Two tapes stored in grey and white cardboard box, Irish recording tape, a product of AMPEXwarrnambool, warrnambool shire council, warrnambool shire centenary

This is a woman's kilt (skirt, shawl and pin). Two of the objects were made by the Fletcher Jones clothing company. The Tartan is the Australian tartan which was designed by John Reid, a Melbourne architect, when he entered a competition run by the Scottish Australian Heritage Council. He chose the colours of the Outback as the basis of his tartan. The tartan is design registered in Australia (No. 97439). (Source: District Tartans, P. Smith and G Teall, 1992). This outfit was possibly made around 1990. David Fletcher Jones who served in World War One had a itinerant drapery business in the Western District before opening a tailoring business in Warrnambool in 1924.He began to specialise in men's clothing and in 1946 opened a shop in Melbourne. In 1948 he opened a clothing factory in Warrnambool and formed a new company Fletcher Jones and Staff. The company expanded to all states of Australia and included the manufacture of both men's and women's clothing making it one of the best known clothing companies in Australia. The company dissolved in 2011 This is a fine example of a Fletcher Jones clothing product and comes from a firm which was a dominant industry in Warrnambool and known Australia wide. It has further cultural significance being in The Australian Tartan..1 An orange/tan checked woollen kilt with a pleated skirt and straight panel at the front with a side fringe and a metal buckle It has an adjustable waist with buttons and metal clips. .2 A triangular shaped shawl in the same material as .1 .3 A metal pin or brooch in the shape of a sword and a circular piece with a swan image and a motto ENDURE FORT..1 Fletcher Jones AUSTRALIA'S FINEST CLOTHING PURE NEW WOOL .2 FLETCHER JONES AUTRALIA'S FINEST CLOTHING MADE IN AUSTRALIA .3 ENDURE FORT fletcher jones clothing company, warrnambool industries, australian tartan, tartan, australian tartan kilt, fletcher jones kilt

This promotional photograph by the Tobacco Growers Association was in response to a 1935 meeting of tobacco growers from Victoria, South Australia and Queensland which produced four major resolutions for the industry covering the remainder of the 1900s. These four resolutions were: (1) Adequate tariff protection (2) Control of pests and diseases (3) Orderly marketing (4) The formation of an advisory council of growers. History has produced the following results. (1) adequate tariff protection was never achieved,(2) control of disease through benzol vapour (CSIRO) breakthrough, was later identified as carcinogenic, (3) orderly marketing was achieved through (4) the establishment of the Tobacco Growers Association(19840. In October 2006, by way of Government buy back of tobacco leases from growers, resulted in the end of Tobacco farming in Australia (after 136 years of planting the first crop). It was also significant that the major tobacco companies such as Philip Morris and The British American Tobacco Australasia advised the industry that it would source its tobacco requirements overseas by 2009.This particular photograph shows prospective buyers (from the major processing firms of Philip Morris and British American Tobacco Australasia) inspecting the dried tobacco leaves at the Melbourne sales, before 2009, when they moved to overseas growers.The remnants of the Tobacco Industry can still be viewed throughout the Kiewa Valley and adjacent regions on the former tobacco farms, which still have the former tobacco drying sheds but now converted into hay sheds. The death of the tobacco industry(2006) resulted in the expansion of the dairy , sheep, beef cattle, venison and lama wool producers in the Kiewa Valley and surrounding regions. The problems from the large quantities of carcinogenic infused soil of farmlands in the region, still remains a problem now and for future generations. The tighter restrictions of where the final product can be smoked and the higher tax levied (no tariff protection) was the main contributor to this one time lucrative industry's demise.Coloured photograph pasted onto a thick wood chip backing. Two galvanised eyelets at the top of the frame, 50mm from each end, with a twine cord stretch from each, for hanging purposes. See also KVHS 0054A to KVHS 0054EA sign, which has been removed from the picture at some previous point in time is "Tobacco sale floor"tobacco, farming, rural industry, licences, ollie mould, blue mould, benzol vapour, photograph

In 1869, the Warrnambool Meat Preserving Company commenced their business on the site, where it operated until 1875 when it was sold to the directors of the Warrnambool Woolen Mill Company. After being destroyed by fire in 1882 it wasn’t until 1910 that the Warrnambool Chamber of Commerce was approached by Marcus Saltau and Peter McGennan to invest in a new mill. The original directors were James Dickson, P J McGennan, Robert Swinton, M Saltau, and J W Younger. In 1955 the Warrnambool Woollen Mill formed a partnership with the Wangaratta Woollen Mills. Dunlop bought the mill in 1968. From that time until its closure in 2000 it had a number of different owners, the last being the Smith Family Industries.This book contains a large number of labels some of which would have been sewn to the corner of the many blankets which were manufactured over the long history of the Woollen Mill.Some are cloth of a satin type. Some state care instructions and some have been made under other name brands such as Myer, Patersons and Nile. There is also a range of types of blankets such as travel and picnic rugs, baby blankets.Some are pure wool, others are a blend of synthetic and wool, mohair. In the latter stages of its operation, under the ownership of the Smith family , recycled woollen product was produced.This is an interesting collection of labels which were produced and collected over a long period of time and therefore provide a valuable insight into different styles and variety of the blankets produced by the Warrnambool Woollen mill which played a large part in the social and employment history of the city for nearly all of the 20th century. The different styles and colours provide a snapshot of design and artistic styles of the period. Large Spirax folder with yellow and white check patterned cover with dark blue writing.A Warrnambool label in gold,black and white is glued to front cover . Back cover is grey heavier card. The white pages have a large number of labels which relate to the Warrnambool Woollen Mill . Some are stapled and others are glued.Genuine drawing cartridge 48 sheets . Made in Indonesia.warrnambool, warrnambool woollenmill,warrnambool blankets warrnambool blankets labels,

This Minton floor tile is from the wreck of the LOCH ARD along with other examples of this manufacture recovered from the wreck site and form part of the collection at Flagstaff Hill. The iron-hulled clipper ship from the Loch Line was heading for Port Phillip from London when it ran into the cliffs of Mutton Bird Island near Port Campbell and was wrecked on June 1st, 1878. The LOCH ARD was laden with high-value cargo including luxury goods intended for display at the Melbourne International Exhibition in 1880. One notable survivor from the ship’s freight manifest was the well-packed Minton porcelain peacock, a two-metre-high ceramic masterpiece of vivid glazed colours. The almost total loss of life and property from the LOCH ARD registered as a shocking tragedy for the Colony of Victoria, at a time when social confidence and economic optimism were otherwise high. The wealth generated from Gold and Wool was increasingly being spent on grandiose private residences and imposing public buildings. The demand for quality furnishings and fittings was therefore strong. Among the products consigned to burgeoning colonial markets by the Milton Pottery at Stoke upon Trent, were their new range of colourfully patterned but very durable floor tiles – ideal for the high-traffic spaces in the large civic buildings then being constructed in Australia and America. These new floor tiles were “encaustic”, meaning that their designs and colours were encased “within” the depth of the tile. Rather than their decorative patterns being glazed onto the surface of the tile, their inlaid designs were created during the manufacturing process, as “coloured slips” (or liquid clay) were poured into a deep pre-moulded casting. When fired, the resulting tile was colour-fast and design-fast. A brief history of the Loch Ard (1873-1878): - The sailing ship Loch Ard was one of the famous Loch Line ships that sailed from England to Australia. Barclay, Curdle and Co. built the three-masted iron vessel in Glasgow in 1873. It had sailed three trips to Australia and one trip to Calcutta before its fateful voyage. Loch Ard left England on March 2, 1878, under the command of recently married, 29-year-old Captain Gibbs. It was bound for Melbourne with a crew of 37, plus 17 passengers. The general cargo reflected the affluence of Melbourne at the time. Onboard were straw hats, umbrellas, perfumes, clay pipes, pianos, clocks, confectionery, linen and candles, and a heavier load of railway irons, cement, lead and copper. Other cargo included items intended for display in the Melbourne International Exhibition of 1880. The Loch Ard had been sailing for three months and was close to its destination on June 1, 1878. Captain Gibbs had expected to see land at about 3 am but the Loch Ard ran into a fog that greatly reduced visibility and there was no sign of land or the Cape Otway lighthouse. The fog lifted at 4 am and the sheer cliffs of Victoria's west coast were much closer to them than Captain Gibbs expected. He tried to manage the vessel but failed and the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. The top deck loosened from the hull, and the masts and rigging crashed down, knocking passengers and crew overboard. The lifeboat was launched by Tom Pearce but crashed into the side of Loch Ard and capsized. He clung onto its overturned hull and sheltered under it. He drifted out to sea and the tide brought him back to what is now called Loch Ard Gorge. He swam to shore and found a cave for shelter. A passenger, Eva Carmichael, had raced onto the deck to find out what was happening and was confronted by towering cliffs above the ship. She was soon swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He swam out and dragged her to the shelter of the cave. He revived her with a bottle of brandy from a case that had washed up on the beach. Tom scaled a cliff in search of help and followed some horse hoof prints. He came from two men from Glenample Station, three and a half miles away. He told the men of the tragedy and then returned to the gorge while the two men rode back to the station to get help. They reached Loch Ard Gorge and took the two shipwreck survivors to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland by steamship. In Melbourne, Tom Pearce received a hero's welcome and was presented with a medal and some money. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost her family in the tragedy. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton porcelain peacock - one of only nine in the world. The peacock was destined for the Melbourne International Exhibition in 1880. It had been well packed, which gave it adequate protection during the violent storm. Today, the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck, it has now become Australia's most valuable shipwreck artefact and is one of very few 'objects' on the Victorian State Heritage Register. The Minton floor tile is significant for its hard-wearing yet attractive design. The shipwreck of the LOCH ARD is of State significance. Victorian Heritage Register S417. Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best-known shipwrecks in Victoria’s history. A square Minton floor tile with a black and apricot pattern against a chocolate brown background. There is a large chip missing. This decorative floor tile was recovered from the shipwreck of the LOCH ARD. On the back, or base, of the tile is inscribed the number “46” and the letters “Minton & Co Patent Stoke upon Trent”.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, encaustic tile, melbourne international exhibition, floor tile, minton floor tile

This Minton floor tile is from the wreck of the LOCH ARD. Other examples of this manufacture have been recovered from the wreck site and form part of the collection at Flagstaff Hill. The iron-hulled clipper ship from the Loch Line was heading for Port Phillip from London when it ran into the cliffs of Mutton Bird Island near Port Campbell and was wrecked on the early morning of June 1, 1878. The LOCH ARD was laden with high-value cargo including luxury goods intended for display at the Melbourne International Exhibition in 1880. One notable survivor from the ship’s freight manifest was the well-packed Minton porcelain peacock, a two-metre-high ceramic masterpiece of vivid glazed colours. The almost total loss of life and property from the LOCH ARD registered as a shocking tragedy for the Colony of Victoria, at a time when social confidence and economic optimism were otherwise high. The wealth generated from gold and wool was increasingly being spent on magnificent private residences and imposing public buildings. The demand for quality furnishings and fittings was therefore strong. Among the products consigned to burgeoning colonial markets by the Milton Pottery at Stoke upon Trent were their new range of colourfully patterned but very durable floor tiles – ideal for the high-traffic spaces in the large civic buildings then being constructed in Australia and America. These new floor tiles were “encaustic”, meaning that their designs and colours were encased within the depth of the tile. Rather than their decorative patterns being glazed onto the surface of the tile, their inlaid designs were created during the manufacturing process, as “coloured slips” (or liquid clay) that were poured into a deep pre-moulded casting. When fired, the resulting tile was colour-fast and design-fast.The Minton encaustic floor tile is significant for its method of manufacture which makes it durable as well as decorative. The shipwreck of the LOCH ARD is of State significance. Victorian Heritage Register S417. Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best-known shipwrecks in Victoria’s history.A square Minton floor tile with a black and beige pattern against a white base. This encaustic floor tile was recovered from the shipwreck of the LOCH ARD. On the back, or base, of the tile is inscribed the number “46” and the letters “Minton & Co Patent Stoke upon Trent”.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, mutton bird island, loch ard gorge, minton floor tile, encaustic tile, melbourne international exhibition, floor tile

This Minton floor tile is from the wreck of the Loch Ard and is currently on display in the Great Circle Gallery at Flagstaff Hill. The iron hulled clipper ship from the Loch Line was heading for Port Phillip from London, when it ran into the cliffs of Mutton Bird Island near Port Campbell. The Loch Ard was laden with a high value cargo including luxury goods intended for display at the Melbourne International Exhibition in 1880. One notable survivor from the ship’s freight manifest was the well packed Minton porcelain peacock, a two meter high ceramic masterpiece of vivid glazed colours. (This is also on display in the Great Circle Gallery). The almost total loss of life and property from the Loch Ard registered as a shocking tragedy for the Colony of Victoria, at a time when social confidence and economic optimism were otherwise high. Wealth generated from Gold and Wool was increasingly being spent on grandiose private residences and imposing public buildings. The demand for quality furnishings and fittings was therefore strong. Among the products consigned to burgeoning colonial markets by the Milton pottery at Stoke upon Trent, were their new range of colourfully patterned but very durable floor tiles ideal for the high-traffic spaces in the large civic buildings then being constructed in Australia and America. These new floor tiles were “encaustic”, meaning that their designs and colours were encased “within” the depth of the tile. Rather than their decorative patterns being glazed onto the surface of the tile, their inlaid designs were created during the manufacturing process, as “coloured slips” (or liquid clay) were poured into a deep pre-molded casting. When fired, the resulting tile was colours-fast and design-fast. The Minton floor tile is significant for its hard-wearing yet attractive design. The shipwreck of the Loch Ard is of significance for Victoria and is registered on the Victorian Heritage Register ( S 417). Flagstaff Hill has a varied collection of artefacts from Loch Ard and its collection is significant for being one of the largest accumulations of artefacts from this notable Victorian shipwreck of which the subject items are a small part. The collections of objects give us a snapshot of how we can interpret the story of this tragic event. The collection is also archaeologically significant as it represents aspects of Victoria's shipping history that allows us to interpret Victoria's social and historical themes of the time. Through is associated with the worst and best-known shipwreck in Victoria's history. A square Minton floor tile with a dark brown, beige and white pattern. The tile has a piece broken off along one side and some chipping along the edges. This ‘encaustic’ floor tile was recovered from the shipwreck of the LOCH ARD. Branded "... MINTON&CO Patent ..."flagstaff hill, warrnambool, flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, minton floor tile, encaustic tile, melbourne international exhibition, floor tile

This Minton floor tile is from the wreck of the Loch Ard. The iron-hulled clipper ship from the Loch Line was heading for Port Phillip from London, when it ran into the cliffs of Mutton Bird Island near Port Campbell. The Loch Ard was laden with high-value cargo including luxury goods intended for display at the Melbourne International Exhibition in 1880. One notable survivor from the ship’s freight manifest was the well-packed Minton porcelain peacock, a two-meter high ceramic masterpiece of vivid glazed colours. (This is also on display in the Great Circle Gallery). The almost total loss of life and property from the Loch Ard registered as a shocking tragedy for the Colony of Victoria, at a time when social confidence and economic optimism were otherwise high. The wealth generated from Gold and Wool was increasingly being spent on grandiose private residences and imposing public buildings. The demand for quality furnishings and fittings was therefore strong. Among the products consigned to burgeoning colonial markets by the Milton Pottery at Stoke upon Trent, were their new range of colourfully patterned but very durable floor tiles ideal for the high-traffic spaces in the large civic buildings then being constructed in Australia and America. These floor tiles were “encaustic”, meaning that their designs and colours were encased “within” the depth of the tile. Rather than their decorative patterns being glazed onto the surface of the tile, their inlaid designs were created during the manufacturing process, as “coloured slips” (or liquid clay) were poured into a deep pre-moulded casting. When fired, the resulting tile was colour-fast and design-fast. The Minton floor tile is significant for its hard-wearing yet attractive design. The shipwreck of the Loch Ard is of significance for Victoria and is registered on the Victorian Heritage Register ( S 417). Flagstaff Hill has a varied collection of artefacts from Loch Ard and its collection is significant for being one of the largest accumulations of artefacts from this notable Victorian shipwreck of which the subject items are a small part. The collections of objects give us a snapshot of how we can interpret the story of this tragic event. The collection is also archaeologically significant as it represents aspects of Victoria's shipping history that allows us to interpret Victoria's social and historical themes of the time. Through is associated with the worst and best-known shipwreck in Victoria's history. A square Minton floor tile with a white background, and beige, dark blue, light blue and black geometric pattern as well as leaves in the design. The tile has corner broken off and some chipping along the edges. The reverse has five rows of five evenly spaced holes. The back of the tile has inscriptions. Made by Minton & Co. at Stoke upon Trent. This encaustic floor tile was recovered from the shipwreck of the LOCH ARD. Branded "... MINTON&CO / PATENT / STOKE UPON TRENT"flagstaff hill, warrnambool, flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, minton floor tile, encaustic tile, melbourne international exhibition, floor tile, minton tile, minton & co., stoke upon trent

This beautifully made ship model is a side relief of the steam ship “S.S. Nelson”, which was launched in 1877. The model’s case stands out because of its ornately carved internal frame. Relief models of ships, sometimes called half models, were often built by the shipbuilders as an exact scale model of the finished ship. The shipbuilders would use the model to ensure that the design was balanced. They would use the model as a point of reference during building. Also, ship models were used to demonstrate the designs to prospective buyers. It is not known whether this model of the “S.S. Nelson” was made for these purposes. HISTORY of the “S.S. Nelson” During the period 1840-1890 shipping was the cheapest and most practical means of carrying produce and goods to and from coastal towns such as Warrnambool. In the 1850s regular domestic steamer services began and by 1870 the passenger trade was booming. Passengers were taken to the ship’s side in small boats called lighters, which took it to ships at anchorage in Lady Bay, then climbed aboard up ladders or gangways. Their fare covered accommodation Saloon/Cabin section (higher class and more expensive) or the Steerage section (lower class and less expensive, below deck level). Produce included livestock such as pigs and fowls, and dairy products, bales of wool, and potatoes. The goods were loaded from the Warrnambool Jetty into the lighters. The S.S. Nelson was built by Messrs Blackwood and Gordon of Port Glasgow for a cost £25,000 in 1877. She was an iron screw steamer with an overall length of 200 feet, beam 25.5 feet and a depth of hold of 19.4 feet, which gave her a gross measurement of 649 tons. Her engines gave her a best speed of 13 knots and a maintainable speed of 12 knots. She was described as a handsome, star decked, efficient steamship, fitted with accommodating for 75 first class passengers in a saloon, and 40 second class passengers in a cabin. The S.S. Nelson arrived in the colony of Victoria on March 9th, 1877. She was first registered in Warrnambool by the Warrnambool Steam Packet Company under the management of Mr William Evans, and employed in the coastal trade of south west Victoria. She was very popular in 1878, registered under the new ownership of the Western Steamship Navigation Company, trading between Melbourne, Warrnambool and Portland. Captained John Nicholson commanded the S.S. Nelson after the previous captain, Thomas Smith, was suspended in 1882 for six months by the Victorian Steam Navigation Board following the collision between the S.S. Nelson and the S.S. Julia Percy. Other Captains include S Drewet and John Thompson. The S.S. Nelson was sold to Messrs. Huddart, Parker and Co. and re-registered in Melbourne on June 23rd, 1890. The new owners intended to use her for their Bass Strait crossing between Melbourne, Victoria and Launceston, Tasmania. On the night of Friday, June 27th 1890, under the command of Captain Carrington, she was on her way to Launceston on her first crossing for her new owners. She had no passengers and very little cargo and was to return to Melbourne with passengers the following morning. She was only 21 hours out of the dock when she struck Porpoise Rock in the Tamar River. All crew of 25 were saved but the bulkheads gave way and she rapidly filled before keeling over and disappearing in approximately 130 feet of water. The new owners had fully insured the almost 14-year-old S.S. Nelson with the Australian Alliance Insurance Company and she had only been in their possession for four days. This ship model of the S.S. Nelson is significant for its connection with the steam screw ship S.S. Nelson, one of a fleet of vessels owned by the Warrnambool Steam Packet Company. The S.S. Nelson was specifically built and purchased for the Victorian coastal trade business of the late 19th century, when shipping was the cheapest and most practical means of transporting goods and passengers between Victoria’s coastal towns and the major port at Melbourne. Once the railway came to Warrnambool in 1889, the steam shipping industry began to decline.Ship model; relief of the S.S. Nelson, showing deck superstructure, ventilators and single funnel. Ship's name is painted on the bow "NELSON". Wood model, varnished finish over natural wood and black painted areas. Timber case with ornate edging and glass front and sides."NELSON" painted on bowflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, s.s. nelson steam ship 1877, screw steamer, 1877 vessel, ship model s.s. nelson, blackwood and gordon port glasgow, warrnambool steam packet company, western steam navigation company, south west coast trader, sea transport melbourne to portland, victorian steam navigation board, s.s. julia percey, captain john nicholson, captain thomas smith, captain s drewet, captain john thompson, captain carrington, huddart, parker and co, bass strait crossing 1890, sea transport melbourne to launceston, porpoise rock tamar river, australian alliance insurance company, ship model making, vessels, victorian coastal trader

When celluloid was invented and first came to prominence in the 1870s, dolls were nearly all breakable and fragile--bisque and china dolls were easily shattered and papier mache and wax easily ruined. So doll companies started experimenting with celluloid to mould dolls. By the early 1900s, celluloid dolls were plentiful, since celluloid was easily moulded and generally inexpensive. Celluloid is one of the first synthetic plastics. It is a plastic created from wood products that includes cellulose nitrate and camphor. However Celluloid is flammable and deteriorates easily if exposed to moisture, and can be prone to cracking and yellowing with certain formulations. Celluloid dolls were produced as late as the 1950s, but the vast majority were produced from 1900 through the 1940s. The knitted outfit was made by an unrecorded home knitter probably as a present for a child. A very small celluloid doll dressed as a boy in fine hand -knitted hat, vest, jacket and pants.celluloid, dolls, knitting, wool, craftwork, moorabbin, bentleigh, cheltenham, toys

Gladys Reed was a member of the Ormond Choral Society c 1950. who performed plays and musicals the City of Moorabbin and she was skilled in hand knitting, crochet and dressmaking. Her garments were used by her family and the Ormond Choral Society . Patons' & Baldwin Ltd began as two separate companies: J & J Baldwin and Partners, founded in the late 1770s by James Baldwin of Halifax, West Yorkshire, England, and John Paton Son & Co., founded in 1814 by John Paton of Alloa, Scotland. Both men had formed their businesses using the spinning mule developed by Samuel Crompton. They mainly produced yarns for commercial knitting machines. The two companies merged in 1920 and diversified into producing wool for home knitters, as well as publishing knitting patterns under the "Patons Rose" and "Baldwins Beehive" trademark. By the mid-1930s, the company had establishments across Scotland and Northern England, Canada, New Zealand, Launceston, Tasmania, Australia. The company branched out into various related lines of business, and the development of new products such as nylon and Terylene. In 1961, the company was merged with J & P Coats Ltd. The Patons trademark is still in use today.The yarn production facility at Alloa was closed in 1999 and the large factory in Launceston, Tasmania, Australia,closed in 1997. In 1952 J. & P. Coats and the Clark Thread Co. merged.and in 1961 a merger with Patons and Baldwins created Coats Patons. In 2015 the business returned to the market as "Coats Group".Patons' knitting books have been used by hand knitters in many countries since they were published early in 20thC Gladys Reed and other residents of the City of Moorabbin used these pattern guides to make clothing for their families and community c1950A printed paper booklet with 64 pages of knitting and crochet patterns, instructions, photographs bound by 2 metal staplesFront Cover ; UNIVERSAL/ KNITTING BOOK / SIXTH / ED / ITION / PRICE / NINE / PENCE / Photo of lady knitting / Trade Mark / JOHN PATON, SON & CO. / BRANCH OF PATONS & BALDWINS LTD. / ALLOA / LONDON, MANCHESTER / MELBOURNE / MONTREAL Written top right ; G Reed Back Cover ; Trade Mark / Registered / THIS TRADE MARK / IS YOUR GUARANTEE / WHEN BUYING / PATONS' ALLOA / KNITTING WOOLS knitting, crochet, craftwork, john paton son & co., baldwin j &j ltd, aloa scotland, launceston tasmania, melbourne, knitting mills, knitting books, coates j&p ltd, 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

From The Sun of Wednesday Sept 12 1945, a, page 6, Coding of Names criticised ARMY GIVES LISTS OF FREED VICTORIANS listing names so identified, and message to relatives, included a reference to J. F. Dale to his parents H. C. Dale of 47 Joseph Street Bendigo. Item re radio expert got news for P.O.W.s and on b, page 5 HIGH PRODUCTION COSY INVESTIGATION; RSL Wants clinics for War Neurosis; BRAVERY EARNS MM; LAND LEASES ADVOCATED Assembly Discussion on Settling Soldiers; WOOL BUYING SCHEME CHANGE SOON; CWA makes Requests; Good homes needed; Decentralization Urged; Peck killed in air accident. C Page 27 of the Advocate April 13 1939, Requiem for Late Father Ronan, popular Bendigo Priest. This page also has advertisements for the Beehive, Davey & Waddington, Matthews Bros, Sandhurst and northern district Trustees, W. Ewing & Son, H & C Styles, McEncroe Milk Products.

1974 Commonwealth Games jacket - New Zealand. Bright red single breasted wool blazer. Front opening fastened with three 1.7 cm red plastic buttons. Four external front pockets with fold over rectangular flaps. Two breast pockets 11 cm X14cm. LHS breast pocket has white embroidered square emblem with letters N2 in each corner. Two below waist pockets 22 cm X 16 cm. Body of blazer lined with red satin. Two internal pockets in the lining with slit openings. Blazer has centre back 32 cm vent from hem and half belt (fabric) 31 cm X 5.5 cm across centre back above the vent.Long straight sleeves are lined with white satin and have 7.5 cm vents at wrist with two decorative 1.5 cm red plastic buttons. Hanging tape at inside back of neck.Labels inside RHS front ''SABRE'', another Granui product. Made in N2'' ''42'' ''Pure Virgin Wool'' ''XTH British Commonwealth Games 1974''. ''Monaghan'' written on lining of RH sleeve (Pen).costume, male, bright red jacket

Clothing. Navy blue, wool, fully lined blazer, presumably worn by a drum section member as the right sleeve has a cloth badge, embroidered with a drum. Long sleeves are elaborately decorated with red felt and gold braid, and finished with three gold plastic buttons bearing the impression of a laurel wreath, and horn as a replica of the British Light Infantry. Two splits on back - one on each side of centre back. Red felt with four peaked stripes of gold braid, on the lower right sleeve - possibly indicates rank of the drummer. Red felt epaulettes trimmed with gold braid and buttons (as above). Two false pocket flaps - one either side of front. Fully lined with a woven patterned taffeta. Sleeves lined with cream polyester (?) with a self stripe. A red felt tab on either side of front revere collar, bearing a metal Leidertafel badge on each tab. One inside pocket on right front. Double breasted.Back of buttons:Stokes & Sons,Melbourne. On internal pocket A.Hayman. Product by Europe Modes for Comfort. Style. Stamina. And an embroidered hand, holding a torch and flame.costume, male ceremonial, band blazer

These two chairs are Grant Featherston prototypes of the 1947 Relaxation Chairs. These chairs came from the Boyd family's Camberwell home (666 Riversdale Road, Camberwell, formerly 158 Riversdale Road) and were originally upholstered with webbing. The fixings were modified in the final product Relaxation chairs. Robin Boyd designed the Ivanhoe home of Grant and Mary Featherston (1967).Dark orange with black fine check woven wool. Nine self-covered buttons. Laminated timber legs and arms (no frame). Three visible timber pegs/bolts connect arms to the body.walsh st furnishings, robin boyd, grant featherston, ohm2022, ohm2022_33

These two chairs and another pair of chairs (item F044) are Grant Featherston prototypes of the 1947 Relaxation Chairs. These chairs came from the Boyd family's Camberwell home (666 Riversdale Road, Camberwell, formerly 158 Riversdale Road) and were originally upholstered with webbing. The fixings were modified in the final product relaxation chairs. Robin Boyd designed the Ivanhoe home of Grant and Mary Featherston (1967).Set of two black and grey fine checked wool fabric. Laminated timber legs and frame. 9 self-covered buttons. No arms.walsh st furnishings, robin boyd, grant featherston