A coffee-coloured lace bertha collar which is wide, round, flat collar designed to accent a woman's shoulders. It has a long history stretching back to Victorian fashion. It can be worn as an accessory to a dress or a top, and it is sometimes removable like a shawl.lace accessories collar bertha

From A. & D. Munro's bootmaker's shop. Archie Munro came to Orbost and started a boot shop in Cameron's barn where he was Acting Post Master.High button boots became a fashion in the 1870s when hemlines were fashionable at the ankle, rather than dusting the top of the shoe. Previous to the high button boot was the ankle bootie favored by Queen Victoria. They laced up and gave no support to the ankle. But, when the dress hemline inched up a bit, more of the ankle was exposed. So, industrious shoe designers came up with a taller shaft of the boot, fastened with buttons rather than laces. This item is an example of early fashion.Six small black boot buttons on a silver safety pin.buttons costume accesories footwear

A large black and white photograph of 9 ladies dressed in long garms with tea cups and saucers, some standing and some sitting in a house garden and onto verandah. A central figure is pouring tea from a silver pot on a table with a lace table cloth. This image depicts the way in which female residents in Beechworth in the late 1800s would enjoy their time through garden tea parties, providing insight to their ways of entertainment. Black and white rectangular reproduced photograph printed on matte photographic paper Reverse: BMM 8785 / 1997 2600/ PH 79 beechworth, tea party, burke museum, garden party, garden, verandah, cups and saucers

Wedding dress or Bridal Gown c. 1860, comprising wedding dress and veil. Gown of very fine cotton has long sleeves, high neck and waist. Lace insert in neckline and in body of dress, decorative panel in front, train at back. Hooke and eye closure. Veil is silk.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, bridal clothing, wedding gown, wedding dress, silk bridal veil, 19th century wedding dress

This hat and hat box was donated to Flagstaff Hill Maritime Village by the family of Doctor William Roy Angus, Surgeon and Oculist. It is part of the “W.R. Angus Collection” that includes historical medical equipment, surgical instruments and material once belonging to Dr Edward Ryan and Dr Thomas Francis Ryan, (both of Nhill, Victoria) as well as Dr Angus’ own belongings. The Collection’s history spans the medical practices of the two Doctors Ryan, from 1885-1926 plus that of Dr Angus, up until 1969. McDade is the surname of Dr Angus’ daughter Berry (Berenice) McDade nee Angus. This had belonged to her father Dr William Roy Angus, Surgeon and Oculist (1901 –1970), who wore it on the ship T.S.S. LARGS BAY when travelling from Australia to Scotland for extended studies to be a “Fellow” of the Royal College of Surgeons in Edinburgh in the 1929. This bicorn cocked hat was worn with the narrow points towards front and back. It is decorated with flat gold braid or ‘lace’ with a geometrical design. Regimental lace was worn on the uniform and headdress of regimental officers in the 19th century. Gold lace chevrons were worn on coats to signify rank. Drummers and Foot Guards also wore regimental lace on their garments to distinguish them from other military personnel. In the late 19th century the English and Welsh infantry officers’ uniforms displayed a rose-pattern lace. The gold bullion and underlying crimson ‘eyes’ have been used to signify the rank of the owner. The crimson eyes were used for military, blue eyes for naval personnel. Different numbers and colours of the bullion and eyes may have been used to represent different military ranks. The Regulations specify nine tassels and eleven underlying eyes but there could have been variations. We have not yet been able to identify the rank for this particular hat. The gold button’s emblem has a cross with five stars, a crown, and the motto “AUT PACE AUT BELLO”, translated “either in peace or in war”. Museum Victoria has a similar button and writes that buttons with this design were used in the nineteenth century by the Victorian Volunteers. The Australian War Memorial Curator of Military Heraldry advised Museum Victoria that these buttons dated from 1880-1892 and were worn by regular, unranked soldiers. The Australian War Memorial has a hat that is very similar in design, described as an “Artillery Staff Officer’s cocked had with plume, worn by Volunteer Artillery Staff in the Victorian Colonial Military Forces”. That hat is different in that it has a plume and the braid and button are silver. Berry MdDade, the donor, has used the hat many times as a dress-up hat but doesn’t know the origin of it. The hat seems to fit the design of the Staff Officers in Victorian Volunteers in Colonial times, but the button on this hat was used for unranked volunteers. Also, military uniforms usually have very clear manufacturer’s labels, as they are made by reputable companies under contract to the Defence Department. The manufacturer’s mark is not discernible on this hat. The origin, original wearer and use of this particular hat is unclear. The military bicorn cockade hat belonged to Dr William Roy Angus and is part of the W.R. Angus Collection. It is significant for still being located at the site where it is connected with, Doctor Angus being the last Port Medical Officer in Warrnambool. The collection of medical instruments and other equipment is culturally significant, being an historical example of medicine from late 19th to mid-20th century. Dr Angus assisted Dr Tom Ryan, a pioneer in the use of X-rays and in ocular surgery. Black bicorn cocked hat and case. It appears to be part of a 19th century Colonial full dress military uniform. The long, narrow crescent-shaped hat is made of beaver fabric and the crown is lined with crimson silk and finished with a hand stitched leather sweatband. On one flat side there is a pleated black silk, lace cockade woven in the pattern of oak leaves and acorns. The cockade is overlaid with a double row of gold lace braiding secure with a Victorian Volunteer’s gold button. Wide diagonal bands of black lace braid trim are on each side of the gold braiding. The other side of the hat is plain. The front and back points of the hat each have seven gold bullion tassels with nine underlying twists of crimson ‘eyes’. The fitted metal carry case has a catch and a metal plaque on one side. The button bears a crown and cross with five stars and a motto. Inside the hat is a white name tag with clear adhesive over it, with black printed text with the name “Mc Dade”. The hat is part of the W.R. Angus Collection. The hat has no maker’s marks although there is a darker colour in the centre where there could have been a label. Inside the hat is taped a printed label; “Mc DADE 801 1032” Button’s emblem- a cross with five stars, under a crown, all within a buckled belt with the motto “AUT PACE AUT BELLO”. The plaque on the case has no legible marks. flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, dr w r angus, t.s.s. largs bay, berry mcdade, 19th century colonial military uniform, artillery staff officer’s cocked had, victorian volunteers, victorian colonial military forces, colonial militia, aut pace aut bello, cocked hat, cockade hat, bicorn hat, military bullion, oak leaves and acorns pattern, gold bullion tassels, military heraldry, w.r. angus collection.

This is number 21 of 27 items in the Daisy Vickers collection of World War One memorabilia. These items were sent or given to Daisy Ogier (nee Vickers) during World War One by Corporal Arthur Anderson who enlisted from Warrnambool in 1915 at the age of 21. He served in Egypt and France and returned to Australia in 1919. Daisy Ogier (1907-1987) was a student and then a teacher at Warrnambool Technical School with her early teaching years there from 1925 to 1936 and in 1949. She became the head mistress in 1950 to 1963 and in 1968. Daisy Vickers was one of the best loved and dedicated teachers the school has ever had. She married the Reverend Fred Ogier and continued her association with the school after her husband's death. This card is interesting because of its association with World War One and two local people Daisy Vickers and Arthur AndersonThis postcard features two children standing together holding a horseshoe and flowers. In the background are more flowers. One child is wearing a deep red coloured dress with a lace collar and a hat The other child is wearing a hat, a scarf and leggings.There is black printing on the front. On the back is a hand written letter. Bonne Annee Tous nos Voeux de Bonheur DIX 105.5/3 Belgium August 13th. Dear Daisy, It is a long time since I had a letter from you so I thought I would give you a reminder to write one. Its some time now since I had a letter from Home . They don't come too often now as the Germans sink the mail boats . I am sending a handkerchief along with this card I hope you like it Arthur daisy vickers, warrnambool technical school, world war one postcard

There is no information available on this dress which has been in the Historical Society’s collection for many years. It may have been a wedding dress. This is an interesting item as an example of a woman’s dress worn about the 1880s. It is a wonderful display item. This is a claret-coloured dress with a full length skirt with bustle. It is made of good quality heavy satin mounted on organza with a back fastening. There is a rosette in the same fabric with two pendant panels. There is a matching fitted jacket with hooks and eyes to fasten and full length narrow sleeves edged with claret lace (much tattered). The jacket is faded and torn in parts. Machine and handsewn. claret-coloured dress, warrnambool, 1860's ladies dress

This dress was typical of those worn on special 'after 5 pm' occasions eg. dinner dances, weddings, balls. There were many such functions at Mt Beauty and in the Kiewa Valley eg. the Hospital BallThis dress was worn (and possibly made) by Margaret Mc Kendrick (nee Vyner) who lived in Tawonga when growing up. She married Ian Mc Kendrick and they lived in Mt Beauty. She worked as a nurse at the Tawonga & District hospital. Ian worked at the Mt Beauty Post Office. They had 3 children.Pink satin ladies cocktail 'after 5' dress. Sleeveless fitted bodice. Pleated skirt with straight front and back panels. Zip at back is full length. It's jacket has a matching lace, long sleeved, scalloped edge, with 5 covered buttons at the back and 6 press studs.'after 5' dress; ladies clothing; margaret mckendrick; tawonga

This dress was typical of those worn on 'after 5' special occasions to: dinner dances, weddings, balls. There were many such functions at Mt Beauty and the Kiewa Valley eg. the Hospital Ball.This dress was worn (and possibly made) by Margaret Mc Kendrick (nee Vyner) who lived in Tawonga when growing up. She married Ian Mc Kendrick and they lived in Mt Beauty. She worked as a nurse at the Tawonga & District hospital. Ian worked at the Mt Beauty Post Office. They had 3 children.Aqua silk long (full length) sleeveless dress. Sequined with beads individually hand sewn. Princess line. Zip full length at the back. A couple of pleats at the front and back. 'A' line skirt. Accompanied by a guipure lace short jacket with three quarter sleeves, lined with the same silk as the dress. Scalloped at the bottom of the jacket. Covered button at the top of the back with a loop.'after 5' dress; margaret mckendrick; tawonga; ladies' clothing

Mrs Clare Roper wore this dress to a garden party at Buckingham Palace when she was invited there to represent the Lions Club.The Roper Family is one of the pioneering farming families of the Kiewa Valley. They built and used Ropers Hut on the High Plains. The dress worn by Clare Roper has historical significance as it represents the importance of the CWA which Claire Roper was involved with as President thus being invited to Buckingham Palace. The dress also shows the fashions of the time and indicates ladies living in the small country towns still viewed fashion as important. Since we know it was Clare Ropers dress it is well provenances, is in reasonable condition and has very good interpretive capacity. This brown shirt waister dress has an 'A' line skirt with an inverted pleat on the lower half of both the front and back. The dress has a 'Peter Pan' collar, matching belt, pockets and short sleeves. There are 3 bound button holes and buttons, gold set with pearls, only one is complete. The front top, cuffs and pockets are embroidered with cream lace. There is a press stud and hook at the neck. There is also a side zip opening in the skirt.kiewa, farming; ropers hut; lions club; clothing; clothes; dress; clare roper; high plains; buckingham palace;

Through the address on the box, this dress has a local connection. Miss Mavis Hedrick operated a dress salon at 162 Liebig St Warrnambool in the 1940's. Her parents lived at various houses in Warrnambool, including Skene, Spence and Princess Sts. She married John William Freeman in 1942 and left Warrnambool some time after that date. From wedding reports of the day it doesn't seem that this is Miss Hedrick's wedding dress. It seems more likely that it was purchased from her frock salon in Liebig St Warrnambool.While the owner and original wearer of this dress has eluded us, the dress has a strong link to Warrnambool through the original box with its identifying labels. The dress is very much in the style of the era of Miss Hedrick's dress shop..This cream silk wedding dress and slip was donated in original cardboard box with the address written in large letters on the front. The dress is cream silk with gold metallic trim in two lines across the bodice.There are silk covered buttons on the front and back of the bodice and it has a high rounded V neckline.It has long lily point sleeves .There is a side opening with hook and eye fastening.The skirt is cut on the cross and a small train flows from the back of the dress. A simple A line slip accompanies the dress. It has ribbon shoulder straps and the top is edged in a fine narrow lace. The large box is rectangular and grey in colour. The addressee's name is written in large lettering in black (possibly crayon) . A label is pasted to the top right hand corner. A Victorian Railways stamp is loose with the item.On the Box : Miss Hedrick Frock Salon Warrnambool On Label in top RH corner: Mollard & Williams 238 Flinders Lane Melbourne. Stamp: Victorian Railways Parcel stamp 8d Melbournewarrnambool, 1940's wedding dress, mavis hedrick, mollard and williams, 238 flinders lane melbourne, miss hedricks frock salon

This is a dress for a young girl aged about twelve. It seems to date from the late 19th century and would have been worn at a wedding or a family celebration. This dress is a fine example of vintage clothing and is a valued display item.The dress is made of fine muslin. It has a round neck with lace edging, the gathered skirt has pin tucks with a spoke stitched wide hem. There is lace insertion at the waist and on each shoulder. On the three quarter sleeves there is lace edging at the cuffs. The bodice has machine made embroidery, spoke stitching and tucks. The back has press studs and hooks and eyes .vintage clothing, warrnambool and district historical society collection

This Christening gown belonged to William Edward Housden who was born in Castlemaine in 1890 and died in Warrnambool in 1972. He served in World War One and married Lucy Knowles in 1921. It was on occasions, and still is, a common practice to make a special dress for a baby's Christening or to use a gown that has been handed down over the generations. This is a fine example of a Christening gown made for a baby 130 years ago.This is a Christening gown made of cream cotton. It is high waisted with a gathered skirt and a pintucked bodice with hand embroidered leaves and fine drawn thread work. The draw string waist opens at the back. It has long sleeves with lace and embroidered cuffs. There is lace and draw string tape around the neck. The seams have been machined.william edward housden, christening gowns

This handmade woman’s nightdress comes from the Kinnear family of Allandale, Allansford. In the early 1840s William and John Allan took up a large tract of land to the east of the Hopkins River and in the late 1840s William Allan took over the Allandale section of the run and John Allan took the Tooram section. In 1906 the Kinnear family acquired a portion of Allandale which included the homestead. The nightdress came from the estates of the donor’s great aunts. This item is retained as an example of an early 20th century woman’s nightdress and it has the provenance of coming from the Kinnear family of Allandale Allansford. This is a white cotton nightdress with an opening to the waist which is enclosed with two white buttons. There is a frill of lace on one side of the opening. The white collar also has a large white frill of lace. The long sleeves are inset and have a band of lace at the wrists. There are some stains on the dress. vintage clothing, kinnear family, allansford, history of warrnambool

This opera coat was made for Louisa Jane Cam, nee Rust, born 24/6/1873. Her parents were John Rust born in Hamburg, Germany and Jane Mc Meekin from Port Patrick, Scotland. In 1892 Louisa married John Cam the director of the Hawthorn Brick Company. It is understood Louisa wore the coat to the opening of the first Federal Parliament in the Exhibition Buildings in Melbourne in 1901.This item being an early nineteenth century opera coat has aesthetic interest. It is also important because of its provenance being worn by Louisa Cam at a significant event in Australia's history.A three quarter length Mandarin styled gold threaded brocade, lined coat dress with long sleeves. The fabric is black with gold patterns of leaves and circles. Large circles feature gold, red, yellow, pale and dark blue flower like images surrounded by gold fringes. The yolk section finishes with a small pleat over the flared bottom section. Edging around the neck is black lace. It is understood a fur collar was previously in place. The cuffs of the sleeves are pleated and have a wide frill above the pleating. The lining is pale blue silk . At the end of the sleeves the lining has hand ruched binding. Nil

This item was donated by the daughter of Ena Heazlewood, a former Warrnambool resident. Mary Josephine (Ena) Todd was born in Warrnambool in 1920. She worked as a hairdresser at Josephine’s Salon in Warrnambool. In 1942 she married Jack Heazlewood, also of Warrnambool. He was serving on the H.M.A.S. Sydney at that time. Later they moved to Sydney. Pantaloons were worn particularly in the 19th century to cover the legs under voluminous dresses such as crinolines. This item may have belonged to earlier female members of either the Todd or the Heazlewood families.This item is of interest as an example of vintage women’s clothing and as an item donated by the daughter of a former Warrnambool resident. These are white cotton pantaloons or panties, hand-stitched. The waist band has two slits with cotton ties either side. The legs have lace frill ends gathered with elastic insertions. vintage clothing, history of warrnambool

A boy of about ten years of age sits on the end of a fallen tree, which is resting in a natural pool in bushland. He is holding a stick gazing into the pool waters. He appears to be dressed in a schoolboy's uniform with close fitting short peaked cap, dark scarf or long sleeved jumper with polo neck and what appears to be a logo on the left breast, the ends of the sleeves turned over, dark shorts and dark long socks with ankle height lace up leather boots. The pool is located on the Eltham Road to Greensborough (present day Sherbourne, Karingal and St Helena roads) and is possibly part of the Karingal Yalloc somewhere near present day Ramptons Road Reserve. This glass plate negative was used to manufacture postcards (1:1 printing) for commercial sale by the Rose Sterograph Company and its subsidiaries. George Rose founded the Rose Stereograph Company in 1880 and was joined by Herbert (Bert) Cutts in the early 20th Century. The pair formed a lifetime working partnership and strong personal friendship. Assisted by George’s two sons, Herbert George and Walter, and later by Neil Cutts, the Rose Stereograph Company continued its operations for more than 140 years. The company was initially built on stereographs, but as cinema took over and stereographs fell out of fashion, the Rose Stereograph Company developed Australia’s first commercially viable photographic postcard business. Specialising in postcards of iconic historical moments and significant landmarks, The Rose Stereograph Company became a staple of the Australian travel industry.This remarkable collection of glass plate negatives, transparencies, and postcards – arguably Australia’s most significant photography collection outside of public hands – has been passed down through the generations, surviving war, relocation, and the harsh Victorian climate. The historic Rose Stereograph collection is the culmination of George Rose’s dream of capturing and preserving precious moments in time and remains the legacy of the Rose and Cutts families. It is with great sadness that the Cutts family says goodbye to a collection that spans five generations and 140 years. The Cutts family understands that for these historically important pieces to rest with one family is to deny others the pleasure of their custodianship.Glass Plate Negative Size: 9 x 14 cmA Pool, Eltham Road, Greensborougheltham, postcard, travel, rose stereograph company, glass plate negative, eltham road, greensborough, karingal road, karingal yallock, sherbourne road, st helena road, rampton's road reserve, schoolboy, peter and elizabeth pidgeon collection

The photograph provides details relating to the student's dress and deportment in 1909. The girls wear full-length dark skirts with wide belts and white blouses. The blouses are not uniform but feature high necks, cuffed sleeves and lace decoration. Their hair is elaborately coiffured and adorned with large bows. The teacher is wearing a mortar-board and academic gown. Her skirt of light-coloured. The photograph has social significance due to its representation of fashions for young ladies in 1909. Black and white photograph with grey mount featuring the Clarendon Ladies College Form VI (Intermediate and leaving) class in 1909. Students are arramnged in three rows - first row on floor, second row seated and third row standing. 18 students and one staff.Printed on bottom left corner of front of mount: Richards & Co/Ballarat; Handwritten on back of mount: Clarendon/Form VI (Inter & leaving)/1909/E.L.R.1909, clarendon ladies college, richards co

Items issued to John Michael Giffard No 0327699EOD Aust Army Training Team Iraq, rotation 8Pair of black uniform dress shoes, patent leather complete with laces.

These boots, along with the rest of the dress uniform, belonged to an individual named H.E. Schulze. It is believed to have been dropped off to the RSL, so no additional information is known.This uniform serves as an example of the military dress worn by the Royal Australian Army (Royal Australian Artillery Regiment) during the late sixties.Pair of polished, lace-up, black leather boots.lara, rsl, royal australian army, royal australian artillery, war

Worn by Robert Lawson Promoted to Petty Officer Engineering (MTP) 1979This uniform was worn by Bob Lawson. Bob is a member of Lara RSL, and this uniform is representative of his service in the Royal Australian Navy.Polished black men's dress shoes with black laces.lara, rsl, military, war, australia, navy

Elaine Donnellon, the donor of the photograph is the daughter of Shelia's sister Matilda. Thomas Coughlan and Shelia Whelan were married 03-09-1947. Not highly significant but typical of a mid 20th century portrait taken in a photographer's studio. The style of the wedding finery is representitive of the fashion of the period.Studio Portrait on original mount. Thomas Coughlan bridegroom, dark double-breasted suit,orange-blossom buttonhole. Shelia Whelan bride, embossed satin bridal gown with train and leg-o-mutton sleeves,a lace insert at the neckline, finished with a dainty locket. An embroidered full lengh veil and ruched head-dress with orange-blossom is complimented by a floral trailer-bouquet and horseshoes. Portrait backdrop, curtain and chair. Bottom right-hand corner, hand written, "Mendilnohy/Melb."studio portrait, 1947, thomas coughlan, shelia whelan, orange blossom, embossed satin, wedding gown, double breasted suit, veil, trailer, bouquet

Patrick Ryan married 'Ellie' Forrester of Towaninnie in 1918 at Inglewood Vic. 'Ellie' daughter of Richard & Ellen Forrester (nee Dauber) of Towaninnie Vic. This photo depicts the more sombre dress worn for weddings during the war years.Studio portrait of Elizabeth Helena Forrester 'Ellie', bride is wearing a two piece ankle length suit, court shoes and carrying a large bouquet of flowers with trailing ribbons. Organdie lace trimmed blouse fastened with a brooch, a smart brimmed hat and necklace completed the elegant ensemble. Patrick Ryan groom, single breasted suit with waistcoat, white bow tie and gloves, button hole and lace up boots.Right hand corner - on embossed card mount "Richards & Co Ballarat". Reverse - "For Auntie Ellen with love Ellie & Pat" hat, studio portrait, forrester, wedding, 1918, bouquet, bride, groom, two piece tailored suit, single breasted suit waistcoat, towaninnie

The donor was given this doll about 50 years ago by her grandfather (in the late 1960s). He used to be a handyman at a high rise building in St Kilda, Melbourne. He had been doing some work for one of the old ladies and she gave him the doll to give to his granddaughter, who collected dolls. The doll has spent a few years at the Nagambie museum until it closed down and returned to the donor The origins or age of the doll are unknown. Originally it was thought to be a Fashion Doll dating from around the 1880s but the painted face together with the bisque legs and gold painted shoes are similar to those found on Boudoir Dolls (also known as Bed Dolls, Sofa Dolls, Flapper Dolls and French Dolls) of the early 20th century. Fashion dolls were sent from fashion houses to advertise the latest styles, fabrics, trims, hairstyles and accessories. Dressmakers would show these dolls to their customers. Ladies would then place their order and the dressmakers would make the dress to their size. The dressmakers would learn the construction techniques from examining the dolls. Boudoir Dolls dolls usually had no maker's marks and were primarily used as bedroom decorations for ladies rather than as children's toys. This doll appears to date at about the early part of the 20th century, but the petticoats are much older - possibly from a child's christening gown. At the time that the donor received the doll, it had a coloured lace over-gown that was badly torn so her mother removed it to replace with more lace but this never eventuated. The pink silk dress also appears to have been remodelled into a 19th century style with gathered sleeves and a gathered skirt. This fashion or boudoir doll is significant for being a rare example of a doll made in the late 19th or early 20th centuries. The doll is wearing clothing representing the fashion for young girls in that era. The doll is also significant as an item possibly used by fashion houses and dressmakers to advertise the latest fashions in clothing, trims, accessories and hairstyles. A doll such as this may have been found in a Victorian dressmaker's premises for use as a pattern and technique template and for a display to customers. It may also have been used as a decorative item in a lady's bedroom.Female boudoir doll with silk face and body, and porcelain lower arms and legs. She has plaited blonde silk hair. Her painted face has brown eyes and her shoes are painted gold. The doll is dressed in a long pink puffed-sleeve dress with a gathered waist and a ruffle at the hem. A pink ribbon around her waist is tied at the back. There are small silver balls hand-stitched around the neckline. She has a white, hand-embroidered lace petticoat and bloomers.warrnambool, flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, doll, boudoir doll, female doll, dressmaker's doll, display doll, late 1800s doll, fashion doll, antique doll, 19th century doll, children's fashion, girl's fashion, late 1800s children's fashion, early 20th century doll, composite doll, french doll

There are 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 the Giles Family and are known as the “Giles Collection”. These items mostly came from the simple home of Vera’s parents-in-law, Henry Giles and his wife Mary Jane (nee Freckleton), whose photos are in the parlour. They married in 1880. Henry Giles was born at Tower Hill in 1858. He was a labourer on the construction of the Breakwater before leaving in 1895 to build bridges in N.S.W. for about seven years. Mary Jane was born in 1860 at Cooramook. She attended Mailor’s Flat State School where she was also a student teacher before, as family legend has it, she became a governess at “Injemiara” where her grandfather, Francis Freckleton, once owned land. Henry and Mary’s family of six, some of whom were born at Mailor’s Flat and later children at Wangoom, lived with their parents at Wangoom and Purnim west, where Henry died in 1933 and Mary Jane in 1940. 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 Museum was established.Nightgown, women's long white nightgown with long sleeves, round collar, pin tucked insert and lace trim.Giles Collection.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, nightie, giles collection, henry giles, tower hill, cooramook, warrnambool breakwater, mailor’s flat, wangoom, 19th century household goods, nightgown, nightdress, night dress, nightwear, sleepwear, clothing, fashion, 19th century, handmade clothing

Migrated to Australia with husband Robert in 1856 from Scotland. Settled in Adelaide, Melbourne then Phillip Island. Died in 1888.Portrait Photograph of Margaret Anderson nee Sharp.Cameo Head and Bust. Lace type cloche hat with wide ribbon tying under chin. White lace collar on dark velvet dress with buttons up front.Stewart & Co. Melbournelocal history, photography, photographs, slides, film, first mrs margaret (sharp) anderson, sepia photograph, mrs emma anderson jacobs, phillip island

Part of Graham Collection, donated by the Family of Misses Mary and Edith Maude Graham, of 4 Blair Street, Portland.Cream silk child's dress. Elbow-length gathered sleeves with smocking at wrists. 2-panels of hand crocheted lace forming a 3-panel yoke with central insert of cream embroidery. Full-length dress in silk with two rows of smocking on bodice. At base of dress are two panels of 6 rows of pin-tucking, separated panel of lace over silk backing. Lace at neck. Opening in centre back with 7 button holes and 5 mother-of-pearl buttons with striution carved design. Cream satin ribbon runs under smocking at back and sewn into side seams.clothing, costume, dress, 1900s