Scope and Contents 'The Awangwane woman, after she has borne a child, wears her bright bead-fringed· cape as an apron suspended from the waist. This is worn as an apron until its colours have gone and the beadwork breaks up. A woman has only one of these bright capes in her lifetime, and she will preserve it for as long· as possible for gala wear. Another modern item of gala dress is the brilliant striped towel which features throughout South Africa as cape or hip draping. The matron's hair style may still be...

Scope and Contents 'Baca married women are heavily draped. Back and front half-skirts of goatskin are surmounted by a series of bright, beaded cloths. A red, upper apron, a black, lower apron and a shoulder cape are all necessary items for married wear. The head cap must also be worn over hair which is prepared in long strands and treated with red ochre and motor oil. A sausage-like ornament keeps the hair away from the face. Pins decorated with wool or beads form fantastic and colourful hair ornaments for...

Scope and Contents 'The Baca married woman always shows great enthusiasm at a party, and takes an animated part in the dancing. Her red-ochred hair, which symbolises marriage, is gaily decked with pins decorated with beads or wool. She wears a cap of beadwork and a heavy beaded roll on her forehead, both symbolic of marriage. Propriety demands that she wear a shoulder covering, this one being of a popular type of salempore. Typical of the Baca married woman's garb are the foundation skirt of two pieces of...

Scope and Contents

'When a Baca girl becomes engaged, or reaches marriageable age, she trains her hair into long strands in preparation for the married state. She may not redden her hair with red ochre and motor oil until the full quota of ‘lobola’ or bridal cattle has been delivered. She may, however, be registered as married, and live in her husband's kraal while still in the engaged state. Necklaces of large beads holding a small horn at the throat are a very favourite ornament common to men and women.'

Scope and Contents 'A typical ‘sangoma’ or witch-doctor of Zulus in Natal or Zululand, wears her hair long and beaded, bladders on the head, goat-skin over shoulders and chest, and carries the small dancing shield and beaded switch of wildebeeste wail. The ‘sangoma’ is usually a married woman, wearing the black oxhide skirt. A male ‘sangoma’ also affects the dress of a married woman, plus all the other regalia as illustrated. Red clay on face and limbs augments the mysterious aspect. Strings of grey seed pods...

Scope and Contents

Landscape format.

Scope and Contents 'The Zulu mother-to-be wears an apron of buckskin prepared by the mother-in-law from the hide of a buck killed by the husband. A section of the hair is scraped off and decorated with brass studs. This apron is worn with considerable pride and is said to impart to the infant the strength, grace and beauty of an antelope. The apron when old and the studs removed, is used to carry the child on its mother's back. Use of this apron is fast disappearing. The black leather skirt and built up...

Scope and Contents 186 x 118mm. Showing three Europeans standing among African huts, with a tent in the foreground. The Europeans have not been individually identified. Robert C. Armstrong is listed as Planter at Glenmore, Umzinto in the Natal Almanac for 1879 and 1881; by 1885 he was a road inspector at Greytown (N.A. 1886) and was in that employment at Umzinto from 1886 to 1887 or 1888 (N.A. 1887, 1888). Horatio Wallace is listed as a planter at Spitzkop, Umhali, in the Natal Almanacs for 1879 and 1881, and...

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205 x 152 mm. View showing of a group of officers seated at a table under an awning, with Sitwell seated on a box at the extreme right. Possibly an image of the mess of the Royal Dublin Fusiliers of which Sitwell was lieutenant colonel.

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152 x 202 mm. An enlargement of RCMS 172/3/3 showing Sitwell.

Scope and Contents

155 x 110 mm. Photograph of the painting by T. Baines. York included his name on each corner of this photograph. These can be seen in copy B clearly on the left hand corner, more indistinct on the right, but copy A lacks the right hand credit and that on the left appears to have been partly deleted, viz. the o and r of York are missing.