Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future). The circle and diamond pattern are ancient symbols used by Wadawurrung people dating pre-colonisation on possum skin and kangaroo skin cloaks, other artefacts like spear heads (carved), wooden shields, stone tools and caves were painted with blood, ochre and bound with grass tree sap, black wattle tree sap and kangaroo fats. The diamond pattern was a strong design used by men on shields and women on baskets and adornments. Shields were taken from the tree in the colder months when the tree was cold as the wood came off cleaner. Ochre colours of red, white, yellow and charcoal were often used to colour in and decorate the skin side of possum skin cloaks, wooden shields, spear heads, baskets and some coolamon bowls.The design for this cloak has been simplified from the original artefact design.Cloak with black and white diamond and circle design on outer cloak and coral and white line pattern within lining. Trimming is solid black. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, wadawurrung, first nations, cloak

Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future). Deanne states that this is her favourite season and she loves painting the small orchids as they flower after the cold season begins to clear.Black cloak with pink and purple toned flower motif on outer cloak, purple and black diamond, and circle design in lining. Solid black trimming. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, wadawurrung dja, first nations art, cloak, murnong

Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future. The murnong was one of the main food sources for First Peoples before colonisation as it grew right across Wadawurrung Dja. The introduction of the sheep and cattle saw the murnong eaten roots and all and it quickly became less plentiful. The tubers were eaten raw or roasted on a fire. Water could be added to make a paste for small children to eat. The woman’s wooden digging stick that was used to gather and harvest plants was often buried with the woman for her afterlife and is considered sacred women’s knowledge. All parts of the plants and trees were and still are honoured as sacred medicine, healing plants and bush food knowledge.Yellow flower and female figure motif on black background on outer cloak, black and white diamond, and circle design in lining. Solid black trimming. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, wadawurrung dja, first nations art, cloak, murnong

Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future). This cloak represents a traditional shield and stands for strength, resilience and standing proud. It protects us as we move forward. The gold represents the gold fields of Ballarat and Golden Plains shire. It also represents fool’s gold (pyrite) as First People had no use of gold, instead the people are the gold.Black, white, and red stripe design with flower and stem motif on outer cloak. Lining is a red and white stripe motif. Trimming is solid black. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, wadawurrung dja, first nations art, cloak, murnong

Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future).The sacred banksia tree was a favourite for Wadawurrung people. Flowering before deep Winter, the banksia was used for spear making and other wooden tools. The sap was drunk as a sweet drink and the seed pods used for water straining and fire sticks. The banksia tree flowers at the time when fire sticks farming is practiced marking the days before the coldest days and nights and the hotter days.White, orange, and yellow banksia design on outer cloak, yellow and white circle and diamond design in lining. Solid black trimming. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, wadawurrung dja, first nations art, cloak

Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future). Waa the Crow Totem Cloak (Waa represents our ancestors watching over us). Waa and all the birds get their names by the sounds the bird makes.Blue feather motif with blue star background on outer clock, blue and black feather design in lining. Solid black trimming. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, wadawurrung dja, first nations art, cloak

Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future. The white ochre was used to create the feather pattern. White ochre is deeply connected to spirit or ‘murrup’ as we call it in language. The ochre is used on our bodies in ceremonies to paint our body up and is also placed on graves when someone passes. The white ochre is our most sacred connection to our ancestors and is used to celebrate both life and death. I source the white ochre from the You Yangs and only take what I need for ceremony and my painting.White and black feather motif with yellow eye design on outer clock, brown feather motif in lining. Solid black trimming. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, wadawurrung dja, first nations art, cloak

Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future). Bunjil the eagle used to be a man called Karringalabil. As a man he created the first man and woman out of bark from the sacred manna gum tree and clay from the river bed. He created the plants, animals, mountains, waterways, sky and under Country. After which he turned himself into an eagle. He has two wives, Kunuwarra the black swan sisters. After he completed all of creation he flew up into the sky at Lal Lal Falls and he now watched over us as a star in the night sky and as an eagle by day.Brown, red and white tone feather motif with yellow eye design on outer clock, red and black diamond and circle design in lining. Solid black trimming. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, wadawurrung dja, first nations art, cloak

Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future). The colours of this cloak refer to natural pink ochre and indigenous flowering plants on Wadawurrung Dja. The pink ochre is sourced by Deanne Gilson at Black Hill in Ballarat, Victoria. Men also made woven dilly bags to hold their possessions in. The basket making was an ongoing aspect of daily life for Wadawurrung people and often done in cooler months when the weather was too bad to go outside. Many women and family groups had their own style and techniques that were traded amongst other groups. Wadawurrung women had a particular stitch they used and incorporated elaborate symbols into the basket designs. Tammy Gilson’s weaving represents this stitch. This cloak pays homage to them and the changing seasons as they created, particularly the cooler months leading into the warmer season when several gum blossom flower. This cloak was worn once by artist Deanne Gilson at a formal opening at the Art Gallery of Ballarat in 2022. A Welcome to Country ceremony was performed while wearing it.Pink native flower in baskets motif on a pink background on outer cloak, pink and white diamond and circle design in lining. Solid black trimming. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, wadawurrung dja, first nations art

Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future). The black swan cloak refers to the black swan of Geelong and Ballarat were the swan has had its own fight to survive during the early colonial years where white swans were introduced by colonisers and the black swan fought back as they do not naturally get along. The wave pattern is taken from a traditional shield pattern held in the Melbourne Museum, South Eastern archive collection of shields. The wave refers to the water and travelling across water to fish, hunt and survive. This cloak is about survival, water, and the swan living on the water. It also refers to a contemporary dance of Kunuwarra the black swan, which was performed by a group Wadawurrung women (including artist Deanne Gilson) for Tanderrum (Melbourne – Naarm) in 2016. The dance is available to watch on youtube.Black swan, heart motif with water design on outer cloak, female figure and red native flower design on lining. Solid black trimming. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, first nations art, wadawurrung dja

Unlined taupe silk cloak with two wide horizontal bands of black satin and lozenge-shaped black cord detailing. Black satin tie collar with black tassels at ends.1920s, cloak, art deco

Orange bouclé wool coat woven with velvet stripes; brown fur collar and deep hem.1920s, cloak, cape

In 1932 the call was put out to the ABC to start a military band. The band’s task was to record music to play on air four times a week, and to perform live concerts for the public. By November 1933 a band was put together with 40 musicians from around Australia. The band was initially conducted by Captain H. E. Adkins, Director of the Royal Military School of Music, Kneller Hall, London. After the tour, Adkins returned to his position at Kneller Hall, and Stephen Yorke, a retired bandmaster of the Gloucestershire Regiment, was brought out to Australia to become the permanent director and conductor of the band, which he did until the band closed in 1951. During the band’s 17 year history they presented a sizable program of music. Their final concert received a standing ovation from its audience of 1500, with a teary-eyed Yorke. This is a double sided set pasted onto backing card, with The Constellation March on one side, and Red Cloak on the other. Some parts are separate and included in separate files above. 25 / 28 parts Concert Band Instrumentation Quick March Key Signature: Db Major / Eb Major Instrumentation: Solo Bb Cornet (Conductor) / Solo Cornet in Bb Piccolo / Concert Flute & Piccolo Oboe / Oboe Eb Clarinets / Clarinet in Eb 1st Bb Clarinet / Solo Clarinet in Bb 2nd Bb Clarinet / 2nd Clarinet in Bb 3rd & 4th Bb Clarinet / 3rd Clarinet in Bb 1st Bassoon / 1st Bassoon 2nd Bassoon / 2nd Bassoon Eb Alto Saxophone / Alto Saxophone in Eb 1st Eb Horn / 1st & 2nd Horns in Eb 2nd Eb Horn / 1st & 2nd Horns in Eb 1st Bb Cornet / 1st Cornet in Bb 2nd Bb Cornet / 2nd Cornet in Bb 1st Trombone / 1st Trombone in Bb 2nd Trombone / 2nd Trombone in Bb Bass Trombone / Bass Trombone Euphonium / Euphonion (Bass clef) Bombardon / Basses Side Drum / Drums Constellation extra parts: 3rd Eb Horn or 1st Eb Saxhorn Solo Eb Saxhorn 1st Bb Baritone 2nd Bb Baritone Bass Drum Red Cloak missing parts: Ripieno Clarinet in Bb Flute & Piccolo in Eb Tenor Saxophone in Bb 3rd & 4th Horns in Eb On envelope: QM166, Red Cloak J.W. Mansfield, ...Stellation T. Clark, Q144 Stamped on the reverse of some of the loose march cards: Australian Broadcasting Co. & The Property of Musical Director & Arranger Charles Godfreybrass band, australian broadcasting commission, marching band, concert band

Hard cover book, The Sealskin Cloak Author: Pen Name Rolf Boldrewood For (Thomas Alexander Browne) Publisher: Macmillan And Co Date: 1896 Brown cloth hardcover and spine with spine lettering in black texter. The spine has a Library label with inscription.fictionThe Sealskin Cloak (1896) is a novel by Rolf Boldrewood, the pen name of Thomas Alexander Browne the Australian author best known for Robbery Under Arms. Unlike his famous bushranger and goldfield tales, this novel is set largely in England and Europe rather than the Australian bush. It opens with Hugh Gordon parting from his wife, Marguerite, at London Bridge railway station as she travels to attend to a sick aunt in the south of France, wearing her distinctive sealskin cloak. The cloak later becomes central to a case of mistaken identity following an accident, when the name and address sewn inside the garment are used to identify a body as Marguerite Gordon. The novel is generally classed as a romantic mystery rather than one of his colonial adventure narratives.warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, shipwrecked-artefact, great ocean road, book, warrnambool library, warrnambool mechanics’ institute, mechanics’ institute library, victorian library board, warrnambool books and records, warrnambool children’s library, warrnambool public library, the sealskin cloak, rolf boldrewood

A cloak believed to have been worn by Captain George Ward Cole. George Ward Cole was an early member of the Victorian Parliament and the family featured prominently in Melbourne Society in their time. They established a substantial home known as “St Ninians” at 10 Miller Street in 1841. The family reportedly entertained Melbourne’s first Royal visitor the Duke Of Edinburgh, Queen Victoria’s second son at St Ninians in 1867. In later years St Ninians was subsequently sub divided and later demolished. A cream, green, brown and red striped cotton evening cloak with a brown silk velvet collar from the 1880s. The cloak features a double tiered velvet capelet with high standing collar that meets in the centre front, fastening with three hook and eye closures and finishing just below the shoulder line. At the centre front throat is an additional piece of lined cloak fabric which may have attached across the throat, purpose unknown. The lining of the throat and collar of the capelet appears to be a replacement with a darker red silk. The original red silk lining features through out the remainder of the garment. Inside the front left breast, the lining features two pockets; inside the right breast, the lining features a single pocket. The lining also features a waist tie to secure the cloak to the body. The cloak is approximately mid calf to ankle length. st ninians, george ward cole, brighton, 1880s

Debra Couzens, Vicki Couzens, Lee Darroch and Treahna Hamm revived their communities' craft of cloak-making. Comprises tools, artworks, ornaments and two magnificently worked possum skin cloaks.vii, 64 p. : chiefly col. ill., map, ports. ; 18 cm.ISBN 1876944366aboriginal culture, possum skin cloaks

Rural City of Wangaratta Collection. Wangaratta Art Prize Grand Winner 2000.A coastal landscape of docked boats painted in oils using shades of green, yellow, brown, and grey.Obverse: Taylor (bottom right corner)/ Grand Winner 2000/ WINTERS CLOAK MORDIALLOC/ By KEVIN A. TAYLOR/ Judge - Ms. JUDITH GARDE/ (plaque mounted on frame)wangaratta art gallery, kevin taylor, landscape, painting, coastal, boats, dock

Index, ill, p.287non-fictionA biography of Henry Rider Haggardenglish literature, novelists - england

My name is Tammy Gilson and I am a descendant of Wadawurrung people on Mums side, Marlene Gilson and my dear Nan, Rita Fagan from the Dalton line of our apical ancestor, John Robinson. For that I pay my respects and acknowledge my ancestors and all Elders. In Wadawurrung wurru, meaning language, the wurru name of a cloak walert walert signifies the reclaiming of language that hasn’t been spoken fluently since colonisation. Wadawurrung kinkinbil people relied on possum fur to create cloaks to wear for warmth, ceremony, adornments and medicine. Possum fur was used widely amongst neighbouring First Peoples particularly from colder parts of Victoria given the harshness of climate and particularly in Gordon where the elevation is 650m above sea level. The walert walert denotes a continuum of cultural practice and identity, can be viewed as secret and sacred and today viewed as contemporised practice of history acknowledging transfer of knowledge, practice and kinship. My experience of possum skin cloak revival was in 2014 through Traditional Ceremony, Tanderrum, where I was chosen to make several cloaks to be worn by the Elders including my Mum. This is where I learnt technique and design elements that remain present and relevant to lived experience. My work is an example of how culture and connection gives purpose and embeds a beautiful sense of belonging. Each design panel holds a visual voice, a narrative that speaks to identity and kinship. Symbols and line work are found on old artefacts that indicate belonging to Wadawurrung people. The water marks and mountain patterns were passed on to me from Mum and her grandma. Continuing this practice is for future generations as the walert walert holds significant healing properties. Making them and sharing knowledge aims to strengthen our Culture and bring family together. There is nothing like a good yarn while sewing or weaving and this is what the Elders do, and my ancestors always did together, sitting around sharing their way and teaching. Possum skin cloak consisting of twenty four pelts, stitched together with thread. Cloak features Wadawurrung designs in red, orange, white and black ochre.possum skin cloak, wadawurrung, first peoples, culture, tammy gilson, identity, tradition, design, walert walert

Domestic dressmaking "Little Red Riding Hood Cloak"C 1950's Pauline's paper pattern No. 2023 size 2-6 for Girls' red Riding Hood cloak 3-piece patternPauline Reliable paper Patterndomestic dressmaking, little red riding hood cloak

My name is Tammy Gilson and I am a descendant of Wadawurrung people on Mums side, Marlene Gilson and my dear Nan, Rita Fagan from the Dalton line of our apical ancestor, John Robinson. For that I pay my respects and acknowledge my ancestors and all Elders. In Wadawurrung wurru, meaning language, the wurru name of a cloak walert walert signifies the reclaiming of language that hasn’t been spoken fluently since colonisation. Wadawurrung kinkinbil people relied on possum fur to create cloaks to wear for warmth, ceremony, adornments and medicine. Possum fur was used widely amongst neighbouring First Peoples particularly from colder parts of Victoria given the harshness of climate and particularly in Gordon where the elevation is 650m above sea level. The walert walert denotes a continuum of cultural practice and identity, can be viewed as secret and sacred and today viewed as contemporised practice of history acknowledging transfer of knowledge, practice and kinship. My experience of possum skin cloak revival was in 2014 through Traditional Ceremony, Tanderrum, where I was chosen to make several cloaks to be worn by the Elders including my Mum. This is where I learnt technique and design elements that remain present and relevant to lived experience. My work is an example of how culture and connection gives purpose and embeds a beautiful sense of belonging. Each design panel holds a visual voice, a narrative that speaks to identity and kinship. Symbols and line work are found on old artefacts that indicate belonging to Wadawurrung people. The water marks and mountain patterns were passed on to me from Mum and her grandma. Continuing this practice is for future generations as the walert walert holds significant healing properties. Making them and sharing knowledge aims to strengthen our Culture and bring family together. There is nothing like a good yarn while sewing or weaving and this is what the Elders do, and my ancestors always did together, sitting around sharing their way and teaching. 9144.1 - Digital colour film featuring Wadawurrung woman Tammy Gilson speaking about the walert walert (possum skins cloak) she made for the National Wool Museum Collection, and the cultural practice of making cloaks. Film is 7 minutes and 3 seconds in length. 9144.2 - Digital colour film featuring Wadawurrung woman Tammy Gilson speaking about the designs which feature on the walert walert she made for the National Wool Museum Collection. Film is 14 minutes in length.possum skin cloak, wadawurrung, first peoples, culture, tammy gilson, identity, tradition, design, walert walert

Portrait black and white, Nursing Sister 2nd Leiutenant D.J. Hower framed in uniform, with nurses vail, cloack(white Collar) rising sun badge at neck, uniform underneath cloak, australia shoulder badges, details underneath the photo miltary-portrait, photo, framed, 1942, 2/2-Army-General-Hospital, 2nd-A.I.F., Sister-D.J.-Hower, WW2, a4-sized, gold-painted-frame, military, nurse, world-war-2,inscription under photo. 112012 Sister 2\2 A.G.H/ 1942 2nd A.I.F./ D.J. Hower Died 31.1.1974Portrait black and white, Nursing Sister 2nd Leiutenant D.J. Hower framed in uniform, with nurses vail, cloack(white Collar) rising sun badge at neck, uniform underneath cloak, australia shoulder badges, details underneath the photo inscription under photo. 112012 Sister 2\2 A.G.H/ 1942 2nd A.I.F./ D.J. Hower Died 31.1.1974military, photo, 1942, nurse, miltary portrait, framed, 2 2 army general hospital, 2nd a i f, sister d j hower, ww2, a4 sized, gold painted frame, world war 2

William Buckley was an escaped convict who lived with the Waddawurrung.Image of William Buckley wearing a possum skin cloak and wearing two spears.william buckley, aborigines, aboriginal, wuddawurrung

AboriginalGroup of Aboriginals seated on tree trunk, woman in possum skin cloak. Buggys in backgroundCarrs Plains

Textile sample from an opera cloak made in England c.1820 from wool clipped from Macarthur's merino sheep in 1816. Macarthur is recognised as the pioneer of the wool industry that was to boom in Australia in the early 19th century and become a trademark of the nation. Macarthur was responsible for the first bale of Australian wool to be exported. The British woollen mills were desperate for wool at the time because of the Napoleonic blockade, and the Australian bale sold for a record price. Australia needed a product to sell in European markets which did not perish during long sea-voyages and which offered high value per unit of weight. Wool also had a ready market in England because the Napoleonic Wars had increased demand and cut English cloth-makers off from their traditional source of quality wool, Spain. Australia's first $2 banknote featured John Macarthur thanks largely to his establishment of wool as the backbone of the early Australian economy. The cloak was passed down through the family to Harold Lethbridge with whom the main part of the cloak resides, in Narrandera. The fragment was passed to Lethbridge's niece who gave it to the donor's mother who passed it onto him and then it was donated to the National Wool Museum. The cloth fragment was tested by Gordon Institute of Technology in 1974 showing the wool to be very fine (15-16 microns) which is consistent with the pure lineage of Macarthur's sheep. The cloth fragment was framed in 1952 and remains in the original frame to this day. Red fabric sample folded in half and mounted in the centre of a brown metal frame.'ARCO' MADE IN ENGLANDmacarthur, wool industry, australian economy, opera, cloak, textile, textile industry, 19th century, merino sheep, woollen mills, new south wales

Gold representation of an Aborigine wearing a possum skin cloak holding a spear, with kangaroo, emu and platypus.aborigine, aboriginal, kangaroo, platypus, emu, possum skin cloak

When he died at Camperdown in February 1883, Wombeetch Puyuun, also known as 'Camperdown George', was the last member of the Liwira Gundidj clan of the Djargurd Wurrung still living on Country.Image of Wombeetch Puyuun (Camperdown George) wearing traditional possum skin cloak and holding a walking stick Back: George Camperdowncdhs, wombeetch puyuun, djargurd wurrung, djargurdwurrung, camperdown george

The now defunct Golden Wattle Festival was celebrated each Spring in Maryborough, and was an important part of the town's cultural history.The cape forms part of the Golden Wattle festival collection of memorabilia held by the society.Gold lame cape or cloak with collar (tied with bow) and train. Scalloped edges are decorated with diamente borders.