The cormorant weaving was depicted through the traditional weaving method of the blanket stitch of the Yorta Yorta people. As birds are very significant and important in Aboriginal culture, the cormorant was created to represent the meaning of Wangaratta for the local people and wider community. The weaving is an extension of my series of works which represent wildlife along the waterways, particularly in the North East of Victoria and within my tribal homelands. In 2001 I was taught to weave at a weaving workshop held at Gas Works in Port Melbourne by old aunties from Victoria and South Australia which included Yvonne Koolmatrie. A body of my weaving works, which include turtles and spirits, is held at the National Gallery of Victoria. Other collections which hold my fibre weavings are the National Museum of Australia, Albury Museum and Wagga Wagga MuseumWangaratta Art Gallery CollectionA textile sculpture of a cormorant woven from natural and man made fibres.cormorant, treahna hamm, yorta yorta people, traditional weaving, weaving

Square Hardanger mat on white cotton/linen even weave with traditional blocks including dove's eyes, woven bars and woven Maltese crosses. Crocheted edge.embroidery, mats, hardanger, maltese cross

The Book is part of a 25 volume set with red cloth bindings and gold filigree design to rib.non-fictionHenry Smith Williams’ “The Historians' History of the World” is a chronological and geographical "tapestry" of human events, these twenty five volumes occupy a very specific and prestigious place in historical research. Volume 18 specifically focuses on the history of England to 1485, it serves as the foundational text for British history within the series. It chronicles the evolution of the English nation from its earliest recorded beginnings through the end of the Middle Ages.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, book, the historians history of the world vol 18 set 1

The Poetical Works of Sir Walter Scott Author: Sir Walter Scott Publisher: Gall & Inglis fictionSir Walter Scott was the literary rock star of the 19th century, and the Edinburgh-based firm Gall & Inglis played a massive role in making his work accessible to the Victorian masses.warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, book, the poetical works of sir walter scott, sir walter scott, poetry

This banner was one of five banners gifted to the Beechworth Chinese community in recognition of their support of the Hospital and Benevolent Asylum in 1875, from the Carnival Committee. These banners had been purchased in China by a social envoy from Beechworth then presented to the Chinese community during the Beechworth Fine Arts Exhibition in May of that same year, by Donald Fiddes, President of the Ovens District Hospital. The Burke Museum's Chinese Collection presents the history of Chinese settlement in Beechworth from 1856 and its involvement in local community affairs in the second half of the 19th century. In settling in the area they formed their own community with distinctive Chinese cultural traditions, forming their own 'camps' with laid out streets, housing a Temple, Chinese Theatre and restaurants, hotels, stores, gambling houses and dwellings. Members of the Chinese community took an active interest in town affairs and were generous donors to the appeal to build the Ovens District Hospital in 1856/7. The vibrant colours and dynamic graphics of the silk embroidered Chinese banners were a highlight of Beechworth Charitable processions that took place in the main street. Two of the Chinese banners were conserved for the Burke Museum in 2006 by Carol Campbell of Phoenix Conservation Services with funding from Victoria’s Heritage Grants. In 2015, with the enormous support of the Copland Foundation and fundraising activities by the Friends of the Bur Museum Committee, conservation of the third banner was undertaken by Artlab Australia in Adelaide. The banners display traditional Chinese textile techniques and are visually beautiful and very rare and are considered of local and national significance, with the potential to be deemed internationally significant.Multi panelled banner with embroidery and applied design motifs on front. Back panel is painted design of two men. The front panels have been constructed using strips of various weaves and colours of silk that have been embroidered or had a design applied prior to the overall construction of the piece. The embroidery is predominantly gold work with both plyed and floss silk threads. Silk macrame fringe and tassels to central panel and padded lotus and bowl motif hanging tassel from side panels. Velvet lettering applied to front "CHINA" CHINA /beechworth, burke museum, chinese, benevolent asylum, ovens district hospital, beechworth carnival processions, carnival, processions, beechworth chinese community, beechworth fine arts exhibition, donald fiddes

This banner was one of five banners gifted to the Beechworth Chinese community in recognition of their support of the Hospital and Benevolent Asylum in 1875, from the Carnival Committee. These banners had been purchased in China by a social envoy from Beechworth then presented to the Chinese community during the Beechworth Fine Arts Exhibition in May of that same year, by Donald Fiddes, President of the Ovens District Hospital. The Burke Museum's Chinese Collection presents the history of Chinese settlement in Beechworth from 1856 and its involvement in local community affairs in the second half of the 19th century. In settling in the area they formed their own community with distinctive Chinese cultural traditions, forming their own 'camps' with laid out streets, housing a Temple, Chinese Theatre and restaurants, hotels, stores, gambling houses and dwellings. Members of the Chinese community took an active interest in town affairs and were generous donors to the appeal to build the Ovens District Hospital in 1856/7. The vibrant colours and dynamic graphics of the silk embroidered Chinese banners were a highlight of Beechworth Charitable processions that took place in the main street. Two of the Chinese banners were conserved for the Burke Museum in 2006 by Carol Campbell of Phoenix Conservation Services with funding from Victoria’s Heritage Grants. In 2015, with the enormous support of the Copland Foundation and fundraising activities by the Friends of the Bur Museum Committee, conservation of the third banner was undertaken by Artlab Australia in Adelaide.The banners display traditional Chinese textile techniques and are visually beautiful and very rare and are considered of local and national significance, with the potential to be deemed internationally significant.Multi panelled banner with embroidery and applied design motifs on front. The front panels have been constructed using strips of various weaves and colours of silk that have been embroidered or had a design applied prior to the overall construction of the piece. The embroidery is predominantly gold work with both plyed and floss silk threads.beechworth, burke museum, chinese, benevolent asylum, ovens district hospital, beechworth carnival processions, carnival, processions, beechworth chinese community, beechworth fine arts exhibition, donald fiddes

This banner was one of five banners gifted to the Beechworth Chinese community in recognition of their support of the Hospital and Benevolent Asylum in 1875, from the Carnival Committee. These banners had been purchased in China by a social envoy from Beechworth then presented to the Chinese community during the Beechworth Fine Arts Exhibition in May of that same year, by Donald Fiddes, President of the Ovens District Hospital. The Burke Museum's Chinese Collection presents the history of Chinese settlement in Beechworth from 1856 and its involvement in local community affairs in the second half of the 19th century. In settling in the area they formed their own community with distinctive Chinese cultural traditions, forming their own 'camps' with laid out streets, housing a Temple, Chinese Theatre and restaurants, hotels, stores, gambling houses and dwellings. Members of the Chinese community took an active interest in town affairs and were generous donors to the appeal to build the Ovens District Hospital in 1856/7. The vibrant colours and dynamic graphics of the silk embroidered Chinese banners were a highlight of Beechworth Charitable processions that took place in the main street. Two of the Chinese banners were conserved for the Burke Museum in 2006 by Carol Campbell of Phoenix Conservation Services with funding from Victoria’s Heritage Grants. In 2015, with the enormous support of the Copland Foundation and fundraising activities by the Friends of the Bur Museum Committee, conservation of the third banner was undertaken by Artlab Australia in Adelaide. The banners display traditional Chinese textile techniques and are visually beautiful and very rare and are considered of local and national significance, with the potential to be deemed internationally significant.Multi panelled banner with embroidery and applied design motifs on front. The front panels have been constructed using strips of various weaves and colours of silk that have been embroidered or had a design applied prior to the overall construction of the piece. The embroidery is predominantly gold work with both plyed and floss silk threads.beechworth, burke museum, chinese, benevolent asylum, ovens district hospital, beechworth carnival processions, carnival, processions, beechworth chinese community, beechworth fine arts exhibition, donald fiddes

This banner was one of five banners gifted to the Beechworth Chinese community in recognition of their support of the Hospital and Benevolent Asylum in 1875, from the Carnival Committee. These banners had been purchased in China by a social envoy from Beechworth then presented to the Chinese community during the Beechworth Fine Arts Exhibition in May of that same year, by Donald Fiddes, President of the Ovens District Hospital. The Burke Museum's Chinese Collection presents the history of Chinese settlement in Beechworth from 1856 and its involvement in local community affairs in the second half of the 19th century. In settling in the area they formed their own community with distinctive Chinese cultural traditions, forming their own 'camps' with laid out streets, housing a Temple, Chinese Theatre and restaurants, hotels, stores, gambling houses and dwellings. Members of the Chinese community took an active interest in town affairs and were generous donors to the appeal to build the Ovens District Hospital in 1856/7. The vibrant colours and dynamic graphics of the silk embroidered Chinese banners were a highlight of Beechworth Charitable processions that took place in the main street. Two of the Chinese banners were conserved for the Burke Museum in 2006 by Carol Campbell of Phoenix Conservation Services with funding from Victoria’s Heritage Grants. In 2015, with the enormous support of the Copland Foundation and fundraising activities by the Friends of the Bur Museum Committee, conservation of the third banner was undertaken by Artlab Australia in Adelaide. The banners display traditional Chinese textile techniques and are visually beautiful and very rare and are considered of local and national significance, with the potential to be deemed internationally significant.Multi panelled banner with embroidery and applied design motifs on front. The front panels have been constructed using strips of various weaves and colours of silk that have been embroidered or had a design applied prior to the overall construction of the piece. The embroidery is predominantly gold work with both plyed and floss silk threads. beechworth, burke museum, chinese, benevolent asylum, ovens district hospital, beechworth carnival processions, carnival, processions, beechworth chinese community, beechworth fine arts exhibition, donald fiddes

These cane chairs are one of many 19th-century items of furniture, linen and crockery donated to Flagstaff Hill Maritime Village by Vera and Aurelin Giles. The items are associated with Warrnambool and the Giles Family history. Items donated by the family have come to be known as the Giles Collection. Many items in the Lighthouse Keeper’s Cottage were donated by Vera and Aurelin Giles and mostly came from the home of Vera’s parents-in-law, Henry Giles and his wife Mary Jane (nee Freckleton), who married in 1880 and whose photos are on display in the parlour. Henry was born at Tower Hill in 1858 and was a labourer on the construction of the Warrnambool Breakwater before leaving in 1895 for around seven years to build bridges in NSW. Mary Jane was born in 1860 at Cooramook, and she attended Mailor’s Flat State School and where she eventually became a student teacher. After which she became a governess at “Injemiara”, where her grandfather, Francis Freckleton, had once owned land. Henry and Mary’s family consisted of six; some of the children were born at Mailor’s Flat, and later, some children were born at Wangoom. They lived with their parents at Wangoom and Purnim west, and this is where Henry died in 1933 and Mary Jane in 1940. Heywood & Wakefield Furniture Co: - The Heywood-Wakefield Company is an American furniture manufacturer established in 1897. It went on to become a major presence in the US. Its older products are considered collectibles and have been featured on television antique programs. The Heywood brothers established themselves in 1826 as furniture makers, and the Wakefield Company began in 1855 as a separate company. Both firms produced wicker and rattan furniture, and as these products became increasingly popular towards the end of the century, they became serious rivals. In 1897, the companies merged as Heywood Brothers & Wakefield Company (this name was changed to Heywood-Wakefield Company in 1921), purchasing Washburn-Heywood Chair Company in 1916, Oregon Chair Company in 1920, and Lloyd Manufacturing Company in 1921. While its wooden furniture plant in Gardner, Massachusetts, closed in 1979, a branch in Menominee, Michigan, continued to manufacture metal outdoor seats, auditorium seats, and school furniture. The Heywood-Wakefield Company Complex in Gardner was added to the National Historic Register in 1983. The South Beach Furniture Company acquired the rights to the name in 1994 and reproduces its wooden furniture. Both founding companies produced wicker and rattan furniture in the late 19th century.  The wicker styles drew on the Aesthetic Movement and Japanese influences simpler designs arose in the wake of the Arts and Crafts Movement. The merged entity stayed abreast of wicker furniture trends by hiring designers such as Paul Frankl and Donald Deskey during the 1920s. Its furniture was exhibited at the 1933 Century of Progress exhibition and the 1964 New York World's Fair. During the 1930s and 1940s, Heywood-Wakefield began producing furniture using sleek designs based on French Art Deco.The Giles family collection has social significance at a local level because it illustrates the level of material support the Warrnambool community gave to Flagstaff Hill when the village and museum were established. The wicker furniture is a fine example of late 19th and early 20th century lightweight domestic furniture that is today a very collectible item and quite rare and valuable.Armchair: pair of wicker armchairs, painted dark brown. The open wicker weave pattern of a traditional Asian design extends from the seat up to the armrests and completely over the backrest, plus across the front of the chair below the seat. The seat is very firmly woven and fitted into a timber frame. A reinforcing pattern of wicker work covers the top edges of the armrests and backrest in one piece and folds around to the underside, referred to as rolled serpentine arms and back. The hollow ends of the armrests are filled with a circular knob of wicker work. The back legs are also completed with decorative wicker knobs. The frames are constructed from bamboo. One chair base (3788.1) has been strengthened with metal bracing. The other chair (3788.2) has the remnants of an orange manufacturer’s tag fixed to the base. The chairs were made from 1897 to 1921 by Heywood Brothers & Wakefield Company, USA. These chairs are part of the Giles Collection.Tag, orange with black print: “MANUFA - Heywood B – GARDNE”flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, shipwreck coast, great ocean road, giles collection, giles family, henry and mary jane giles, tower hill, cooramook, warrnambool breakwater, mailor’s flat, wangoom, 19th century furniture, wicker armchairs, rolled serpentine wicker work, cane armchair, classic wicker furniture, victorian style furniture, domestic furniture late 19th century, chair, armchair, woven cane, wicker, rolled serpentine, manufa - heywood b – gardne, heywood brothers & wakefield company, usa

Blotting paper was traditionally used to blot excess ink from writing when pens and fountain pens were in common use. The paper is open weave and very absorbent. Many such as this were presented in the form of a booklet with a number of leaves inside and an appealing picture, drawing or advertising material on the front. A common item which would have been in use for many years. This particular one has visual appeal.A pale green card blotter with a picture of house surrounded by multi- coloured cottage garden. Verse is underneath the picture. The picture is on a separate piece of paper which is glued to the green card. It has a zig zag edge on the card and includes four sheets of blotting paper. Held with green cotton cord on the side.A gift Blotter for Mother. The sweetest sounds to mortals given are heard in Mother, Home and Garden. (William Goldsmith Brown)blotting paper, warrnambool

Montagnard people were the indigenous non-Vietnamese ethnic minorities living in the Central Highlands of Vietnam. Australian Army Captain Barry Petersen was sent to Vietnam in 1963 as part of the elite Australian Army Training Team to train Montagnard rebels in how to deal with the guerrilla tactics used by Viet Cong insurgents. The laplap is an integral part of the traditional ceremonial costume of various Montagnard groups, particularly the Rhade tribe, with whom Petersen lived and worked, learning their language and wearing their traditional clothing.Top and shawl black. Embroidery and weaving in white, red and ocremontagnard, ceremonial costume, laplap, loincloth, petersen, barry petersen, rhade, rade

Modern industrialized Berber carpets are distinguished by a loop pile construction type that gives a similar appearance to the distinct knot of traditionally woven Berber carpets. The modern carpets usually contain small flecks of dark colour on lighter shades of background colours resembling a natural undyed version of the traditional carpets. Berber is known for being one of the oldest and most durable kinds of carpet. Traditionally, Berber carpets are carpets hand-woven by the Berber people in North Africa and the Sahara. The carpets come in traditional and modern designs, which are distinguished by different knotting patterns, dyes and fabric textures. The origin of carpet weaving by the Berber populations dates back several millennia. The hand-spun cloth they created was named after the individual tribe, and they used natural fibres to create cloaks, rugs and other fabrics. Card showing printed text and graphic featuring an image of a sheep in tones of orange, brown and cream. Printed: PURE NEW WOOL / THE / LOOK OF / BERBERcollins bros mill pty ltd, manufacturing, geelong, wool, berber

Traditional embroidery (chasu) in Korea has a history of more than 2,000 years. Since prehistoric times, the need for sewing led ancient Koreans to use needles made from fish or other animal bones to weave animal skin, tree bark and leaves. After society got more advanced, chasu was introduced as a method of adding colour and detail.Silk embroidery of a pair of peacocks under cherry blossom and peonies. Cream silk background with colourful satin stitch embroidery using silk threads.Four characters - Chinese 'Hanzi' or Korean 'Hanja'

During periods of harsh persecution, Hmong women developed a way to record their history by weaving it directly into their clothing. Called "pajntaub" , which means "flower cloth", and it was traditionally practiced only by the women of the community. Using a variety of complex stitching techniques, they created intricate geometric patterns. These designs were not just for decoration on clothes, collars and baby carriers. At times when their own language was suppressed, these symbols served as a form of communication and cultural documentation, with history hidden in the very pleats of their skirts. This tradition took on a new powerful meaning in the late 1970's after the wars in Southeast Asia. Forced into refugee camps in Thailand, Hmong women began creating "story cloths". These were larger tapestries that documented their lives, their traditions, and their harrowing journey from their homelands to the camps. These story cloths became a way to tell the world what had happened to them . They also became a vital source of income, sometimes selling for just one dollar, which helped families survive in the camps. Hmong Archives; Library of Congress. Hill Tribe clothing panel in fuchsia pinks and royal blue, with white, green, orange highlights. Embroidered in buttonhole stitch and satin stitch filling. Worked on black even weave linen.

During periods of harsh persecution, Hmong women developed a way to record their history by weaving it directly into their clothing. Called "pajntaub" , which means "flower cloth", and it was traditionally practiced only by the women of the community. Using a variety of complex stitching techniques, they created intricate geometric patterns. These designs were not just for decoration on clothes, collars and baby carriers. At times when their own language was suppressed, these symbols served as a form of communication and cultural documentation, with history hidden in the very pleats of their skirts. This tradition took on a new powerful meaning in the late 1970's after the wars in Southeast Asia. Forced into refugee camps in Thailand, Hmong women began creating "story cloths". These were larger tapestries that documented their lives, their traditions, and their harrowing journey from their homelands to the camps. These story cloths became a way to tell the world what had happened to them . They also became a vital source of income, sometimes selling for just one dollar, which helped families survive in the camps. Hmong Archives; Library of Congress. Hill Tribe clothing panel in fuchsia pinks and royal blue, with white, green, orange highlights. Embroidered in buttonhole stitch and satin stitch filling. Worked on black even weave linen.

During periods of harsh persecution, Hmong women developed a way to record their history by weaving it directly into their clothing. Called "pajntaub" , which means "flower cloth", and it was traditionally practiced only by the women of the community. Using a variety of complex stitching techniques, they created intricate geometric patterns. These designs were not just for decoration on clothes, collars and baby carriers. At times when their own language was suppressed, these symbols served as a form of communication and cultural documentation, with history hidden in the very pleats of their skirts. This tradition took on a new powerful meaning in the late 1970's after the wars in Southeast Asia. Forced into refugee camps in Thailand, Hmong women began creating "story cloths". These were larger tapestries that documented their lives, their traditions, and their harrowing journey from their homelands to the camps. These story cloths became a way to tell the world what had happened to them . They also became a vital source of income, sometimes selling for just one dollar, which helped families survive in the camps. Hmong Archives; Library of Congress. Hill Tribe clothing panel in progress in fuchsia pinks and royal blue, with white, green, orange highlights. Embroidered in buttonhole stitch and satin stitch filling. Worked on black even weave linen.

Purchased in Calcutta, India. A dupatta is a traditional long scarf or shawl worn by women in the Indian Subcontinent, essential to outfits like lehengas, ghagras, and churidar suits. Often adorned with embroidery, sequins, or laces, it is used for fashion and modesty, commonly draped over one shoulder or over the head.Dupatta (stole), yellow silk, printed block pattern of repetitive rows of female figures and basket weave.weaving, garments, sari, mid 20th century, india

Yakan textiles, known as tennun, are intricate, handwoven fabrics from the Yakan people of Basilan, Philippines, characterized by vibrant colours and complex geometric patterns. Traditionally woven by women on backstrap looms using abaca, cotton, or silk, these textiles represent cultural identity, resilience, and high-level craftsmanship.Woven cloth with tapestry weaving technique in some areas. Geometric patterns in red, black, yellow, orange, pink, white and green. Mainly cotton, some pink threads in silk.weaving, early 20th century, table cloths

Woolen rugs were essential to the nomadic culture in Tibet, providing warmth and durability on the high-altitude plateau. They were handwoven from yak wool on a small loom, using the traditional slit-loop technique involving looping the yarn under a warp attached to the loom, and then drawing it toward the weaver and over a metal gauge rod before returning it to the rug and looping around another warp. When a row was finished, the loops of yarn were cut to form a pile.Traditionally rug weaving was not merely a manufacturing process but a cornerstone of Tibetan culture, blending artistic expression with spiritual symbolism and daily practicality. Handwoven coarse brown yak wool rug, sewn by hand from four strips and decorated with tassels of yak hair.everyday life, yaks, products made from yaks

This spinning wheel originates from New Zealand; however, it has no distinguishing features relating to its creator such as an inscription, so its exact maker is not known. Gill Stange remembers buying the wheel on Bridge Road in Richmond, approximately 30 years ago. Gill had joined her local Spinners and Weavers Guild after the Ash Wednesday bushfires of 1983. She was a then resident of Mount Macedon and lost everything in the fires. Moving to Melbourne to get away from the scene of much pain, Gill was also in need of a new hobby to help occupy her mind. That is when spinning and weaving entered her life. The local Spinners and Weavers Guild was a great support network for her and with their recommendation, she purchased her own spinning wheel. Her passion was started, and the wheel was to become a treasured item in Gill’s home. She had several spinning wheels within her possession over the years, however, this wheel was her first and always her favourite. When the time came for Gill to downsize, there was simply no longer room for her spinning wheel. This is when she decided to donate the wheel to the National Wool Museum. Gill remembers one highlight was weaving a tablecloth from a traditional German design. It took her two years to complete, with Gill spinning all the wool herself on this wheel. The tablecloth won the first prize in the Melbourne Show in 1987. Gill also used the wheel to teach programs to school children on how to spin and knit wool. She would take the easily transported little wheel, and its accompanying seat, with her to schools. Its small size enabled her to teach children to knit and spin, bringing others the joy that spinning had brought her. Not just limited to schools, Gill also taught programs with the wheel here at the National Wool Museum. It is a fitting home for the wheel, which Gill donated to the National Wool Museum in 2021.Dark varnished wood in a Castle style spinning wheel. The wheel has 8 small spokes which meet a thick outside rim. The outside rim has four golden disc weights on the bottom edge, to aid in the turning of the wheel. The spinning wheel has four legs of turned wood giving a sculptural form, a design pattern which is continued throughout. The wheel has a single medium sized foot pedal. This pedal is well worn with varnish missing from years of use. The wheel is completed with its accompanying chair. Made of the same dark varnished wood, its legs are also of turned wood, continuing the design pattern and uniting the two objects. The chair is very simple outside of the legs, with a medium size base and a thin backrest ending in a rounded head. The chair’s varnish is also starting to fade from years of use. The chair is small, designed to keep the spinning wheel operator at the appropriate height when spinning on the equally small and compact Castle style spinning wheel. Additional parts were donated with the Spinning Wheel. - 3 x Lazy Kates - Spare Maiden. - 450mm Niddy Noddy - Steel teeth brushspinning wool, spinning wheel, ash wednesday, mount macedon, textile production

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

Back row: Adolf Linsenmaier, Jurgen Tretz, Mr Weaving (teacher), Heinz Palmer (partly hidden) and Gottlob Reinhart (alias ABU ULI, Arabic for father of Ulrich). Middle row: Eberhard Bitzer, Erich Haering, Aerbe Black. Front row: Ernst Wied, Helmut Palmer, Kuno Kaltenbach (in lederhosen) and Harold Gratze.Black and white photograph of 12 boys and teenagers, one young and 1 older man standing in front of a hut with 2 prominent ventilators. Young bloke in front right in traditional shorts and braces.internee children, camp 3, adolf linsenmaier, jurgen tretz, mr weaving, gottlob reinhart, eberhard bitzer, erich haering, aerbe black, ernst weid, helmut palmer, kuno kaltenbach, heinz palmer, abu uli

During periods of harsh persecution, Hmong women developed a way to record their history by weaving it directly into their clothing. Called "pajntaub" , which means "flower cloth", and it was traditionally practiced only by the women of the community. Using a variety of complex stitching techniques, they created intricate geometric patterns. These designs were not just for decoration on clothes, collars and baby carriers. At times when their own language was suppressed, these symbols served as a form of communication and cultural documentation, with history hidden in the very pleats of their skirts. This tradition took on a new powerful meaning in the late 1970's after the wars in Southeast Asia. Forced into refugee camps in Thailand, Hmong women began creating "story cloths". These were larger tapestries that documented their lives, their traditions, and their harrowing journey from their homelands to the camps. These story cloths became a way to tell the world what had happened to them . They also became a vital source of income, sometimes selling for just one dollar, which helped families survive in the camps. Hmong Archives; Library of Congress. Hill Tribe clothing panel in fuchsia pinks and royal blue, with white, green, orange highlights. Embroidered in buttonhole stitch and satin stitch filling. Worked on black even weave linen.

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.

Made by Kaye Van Boekel whilst studying at Oonah Learning CentreWas taught basket weaving by Auntie Dot PetersHandmade Koori traditional two-handled basket Noneauntie dot peters, kaye van boekel at oonah learning centre

Tobanese weaving from Samosin Island in Lake Toba. Gifted by Dr. and Mrs. J.S.Mills. Tobanese weaving refers to the ancient, sacred textile tradition of the Batak Toba people, who live in the Lake Toba region of North Sumatra, Indonesia. Historically practiced by women using a traditional backstrap loom (gedogan), this craft is most famous for producing Ulos, a ceremonial handwoven cloth that serves as a fundamental pillar of Batak social structure, identity, and ritual life.Black ground with woven-in vertical and horizontal stripes of green, blue. purple, red and yellow. Blocks of red, green and yellow shapes. Ends finished with a deep fringe made of warp threads.weaving, stoles, indonesia, scarves, 1960-1980

Children's book with color illustrations and text. 30 pages.fictionThis is a story about Aunty Kim teaching her granddaughter to weave which includes understanding and caring for Country.wurundjeri woi-wurrung

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