"An account of research studies and mill processing trials on four apparel wools"- J H Wakelin and W von Bergen 1953 : Wool research project, summary report for the period October 1948 to October 1952.merino sheep wool - characteristics wool - chemistry textile research textile calculations textile fibres, dyeing, spinning, carding, yarn - worsted, merino sheep, wool - characteristics, wool - chemistry, textile research, textile calculations, textile fibres

"Winding, warping and weaving: mill practice and management" - W Barker, "Textile Manufacturer" Monograph No 1"Winding, warping and weaving: mill practice and management" - W Barker, "Textile Manufacturer" Monograph No 1textile industry - education textile fibres weaving textile machinery, textile manufacturer, winding, warping, dressing, dyeing, textile industry - education, textile fibres, weaving, textile machinery

Ann Greenwood is an Australian textile artist renowned for her innovative use of weaving, felt, and natural fibres. Based in Gippsland, Victoria, she has developed a distinctive practice that merges traditional textile techniques with contemporary art. Greenwood’s work often incorporates hand-spun wool, plant dyes, and materials sourced from her immediate environment, reflecting her deep connection to nature and sustainability. Over five decades, her practice has encompassed sculpture, installation, and performance, expanding the boundaries of textile art. In Three Mamacunas, Greenwood draws on the legacy of the Inca Empire, where Mamacunas were women who served in temples as priestesses, weavers, and caretakers of sacred rituals. Their roles embodied creativity, devotion, and cultural continuity. Today, the term is reinterpreted in contemporary art and writing as a symbol of women’s strength, wisdom, and custodianship of tradition, linking ancestral practices with present-day explorations of identity and resilience.

Ann Greenwood is an Australian textile artist renowned for her innovative use of weaving, felt, and natural fibres. Based in Gippsland, Victoria, she has developed a distinctive practice that merges traditional textile techniques with contemporary art. Greenwood’s work often incorporates hand-spun wool, plant dyes, and materials sourced from her immediate environment, reflecting her deep connection to nature and sustainability. Over five decades, her practice has encompassed sculpture, installation, and performance, expanding the boundaries of textile art. In Three Mamacunas, Greenwood draws on the legacy of the Inca Empire, where Mamacunas were women who served in temples as priestesses, weavers, and caretakers of sacred rituals. Their roles embodied creativity, devotion, and cultural continuity. Today, the term is reinterpreted in contemporary art and writing as a symbol of women’s strength, wisdom, and custodianship of tradition, linking ancestral practices with present-day explorations of identity and resilience.

Ann Greenwood is an Australian textile artist renowned for her innovative use of weaving, felt, and natural fibres. Based in Gippsland, Victoria, she has developed a distinctive practice that merges traditional textile techniques with contemporary art. Greenwood’s work often incorporates hand-spun wool, plant dyes, and materials sourced from her immediate environment, reflecting her deep connection to nature and sustainability. Over five decades, her practice has encompassed sculpture, installation, and performance, expanding the boundaries of textile art. In Three Mamacunas, Greenwood draws on the legacy of the Inca Empire, where Mamacunas were women who served in temples as priestesses, weavers, and caretakers of sacred rituals. Their roles embodied creativity, devotion, and cultural continuity. Today, the term is reinterpreted in contemporary art and writing as a symbol of women’s strength, wisdom, and custodianship of tradition, linking ancestral practices with present-day explorations of identity and resilience.