These four items came from the wedding cake made for the 1942 wedding of Ena Todd and Jack Heazlewood. Mary Josephine (Ena) Todd was born in Warrnambool in 1920 and was a hairdresser at Josephine’s Salon in Warrnambool. When she married Jack Heazlewood he was a stoker on the H.M.A.S. Sydney. They later lived in Sydney. Wedding cakes today often continue to be decorated with items similar to these. These cake decorations are of interest as examples of wedding ornaments of the mid 20th century and as mementoes of the 1942 wedding of two Warrnambool residents, Ena Todd and Jack Heazlewood. These are four items used to decorate a wedding cake. .1 A spray of white flowers with two green leaves with a covered wire stem .2 A spray of six white flowers with a covered wire stem .3 A spray of three silver-coloured leaves and five acorns on a covered stem and branches .2 A silver shoe made from paper

Ten black and white photographs of Ballarat Centralballarat, centenary decorations, camp street, sturt street, academy of art, former ballarat library, former wesley church, lydiard street south

The first presedent of the Greater Ballarat Association in 1938 was Robert J. Cooke. Eighteen annual reports of the Greater Ballarat Association. Each one discussed the work of the association and lists the subscribers. greater ballarat association, annual report, edgar bartrop, g.b. richmond, a.w. nicholson, g.e. deeble, r.g> caddell, l.j. fraser, t.u. haymes, a.w. lynch, keith rash, tourist bureau, botanical gardens telepone booth, pryor park tree planting, ballarat zoological gardens, centenary window dressing competition, soldier settlement, proposal for university for ballarat, caravan park, ballarat common, ballarat common development, t.t. hollway, housing commission, wendouree housing commission, industrial development, s.s. ballarat, begomia festiva, r.g. caddell, w.gordon smith, f.h. menzies, olympic rowing, royal tour decorations, begonia float, widening of railway bridge, j. chatham, l.g. chester, s.v. playsted, n. ellis, langi kal kal, langi kal kal training centre, migrants to victoria, flood lighting of the arch of victory, olympics holidays, ballarat's projected olympic pool, ballarat fish hatcheries, olympic hostel, town planning, murray byrne, titles for residence areas, service club signs, railway level crossing, traffic, ploughing competition, w. fraser, young australia league, removal of raaf from ballarat, renumbering of streets, renumbering of streets to the block system, miners' racecourse reserve, historical museum, ballarat historical society, c.m. canty, mavis canty, university status, ballarat university college, j.w. murray, p.r. gray, b.c. mcorist, n.c. ellis, w.h. heinz, save the lake campaign, lake wendouree, weed, home host scheme, b. walker, develop victoria council, eureka development, victorian decentralization league, r.h. ramsay, allan c. pittard, w. gordon smith, c.h. davis, b.c. hedgcock, les kennedy, p.j. rice, a.f. waddington, john p. cook, historic markers, maze, traffic lights, bungal dam, camera clubs, sunraysia way, map, centre of road parking, paddle steamer, wendouree apex, local government women's association, may nelson, wes sobey, melton foo, l.l. zilles, dulcie sullivan, m. barnes, lou zilles, john wesley sobey, e.r. ingles, herb warren, kryal castle

This item is part of the Giles Collection, dating back to the late Victorian era, from the 1880s to the early 1900s, in which Queen Victoria ruled England. The queen’s influence was felt throughout the world, including in the United States and Australia where Victorian values shaped society and style, especially in home décor. This period’s distinct style presents an eclectic mix of highly ornamented furniture, wallpaper, and knick-knacks. Particularly in terms of furniture, and the characteristic floral patterns and rich, contrasting colours, wall hangings that enjoyed the height of their popularity during the Victorian era were of the spiritual type with either embroidered or punched paper religious motto or bible quote. Mottoes were commonly hung high up on the wall or in an area of prominence, to remind the viewer of their important message, such as “He Leadeth Me” and “Honesty, Industry, and Sobriety.” Short and pithy, they embodied the ideals of Victorian society. Technological advances contributed to the boom of religious mottoes whereas before the Industrial Revolution home décor of this sort was handmade and therefore minimal, now consumers could purchase and fill their homes with all sorts of mass-produced ephemera goods similar to the subject item. Many of these mass-produced period pieces still exist today, often in their original frames, ceramic, enamelled or paper formats. Flagstaff maritime museum has many examples of mottoes on display that serve to reflect the period in which values of home, faith, and Christianity were very prominent in everyday Victorian society. The Giles Family 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 a 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. This wall decoration reflects the social values and attitudes of the late Victorian era that was used to promote good Christian and moral values in many households. These items of decoration were very popular at this time and the subject item is significant as it gives a snapshot into the social norms of past generations. Printed card wall hanging with floral design. Religious text on the sign is embossed onto the card and highlighted in silver print. There is a handwritten ink inscription, and a pencil inscription, on the back. A string is attached to two holes on top of the card. Embossed"THE BLESSING / OF THE LORD/ BE UPON YOU." "PS 129.8." In pencil "H/S" In ink "To dear Granny with lots of love / from Dorothy. X X."flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, shipwreck coast, great ocean road, paper wall decoration, religious, home decoration, societal values, victorian moral values, wall hanging, wall decoration, spiritual decoration, bible verse, giles collection

Decorative image of cat and grasshopper on wooden stand with greenish background and semi transparent. "PMA 0201/4"

The article is about a family in St Helena that decorates their house with Christmas lights.The De Vincentis family have done this for 12 years.A short article featuring a colour photograph of an illuminated house.Biro written datechrisrtmas decorations, de vincentis family, st helena, make a wish foundation

Displayed in History House.Round board with print of town coat of arms affixed. Measures in diameter 71.2cm x Depth of 0.6cm

Displayed in History HouseCircle of wood with paper printed with Portland Municipality coat of arms affixed.souvenir, portland, coat of arms

Displayed in History HouseRound board with print of town coat of arms affixed.

Displayed in History House.Circle of wood with paper printed with Borough of Portland coat of arms affixed. Souvenir floatsouvenir, float, borough of portland

397 Harry U Naylor served with 12 Battalion AIF during WW1. These medals and the ANZAC Medallion were awarded to Pte Naylor for his service.These Medals are the originals that were awarded to 397 Pte H U Naylor.Two Medals with ribbons - the British War Medal 1914-1918 and the Victory Medal 1914-1919. The ANZAC MedallionOn the two Medals - 397 Pte H U Naylor 12 BN AIF. On the ANZAC Medallion - H W? Naylorww1 12 battalion aif 397 pte h u naylor, 397 h naylor, 12 battalion, aif, ww1, decorations, anzac medallion

3163 Pte W J Smith enlisted in to the AIF on 29 September 1915 and embarked from Fremantle on the Argylishire. On arrival Pte Smith was take on strength to Pioneer Training Battalion and was then transferred to 5 Pioneer Battalion. Pt Smith returned to Australia on the Berrima and arrived on 02 January 1919, was discharged on 22 March 1919.This Victory Medal is the original that was issued to 3163 Pte W J Smith.Victory Medal. Round bronze Medal , with ribbon.3163 Pte W J Smith. 5 Pnr Bn. A I F On the reverse of the Medal - The Great War for Civilisaztion 1914-1919.3163 w j smith, 5 pn bn, ww1

McEwans Christmas wrapping paper. This paper was found at 74 Greenhill Road Greensborough in 2020. It would date from the 1970s when the McEwans store was in Greensborough Plaza.McEwans coloured Christmas Wrapping paper - red, green and white.christmas decorations, mcewans, greensborough p, greensborough plaza

Mrs Eaton was daughter of George and Granny Thomas. Respected Aboriginal couple at Newmerella.This item is an example of a handcrafted item and reflects the needlework skills of women in the first half of the 20th century when women's focus was the home and its decoration was important. Embroidery and crochet work was an affordable way to personalise and add aesthetic value, and examples of embroidered and crocheted pieces could be found in most Australian homes.A canvas runner, unbleached, with two symmetrical designs in thick white thread on front. Fancy borders sewn on edge.cloth handcraft needlework eaton-julia manchester table-linen

Doily was hand made by Riuth Woodward who was the daughter of Alan Richardson, a sawmiller at Tabbara. He held ticket for the paddlesteamer Curlip.This item represents an important pastime of Australian women of the late 19th to mid 20th century. Women's focus was the home and its decoration was important. Embroidery and crochet work was an affordable way to personalise and add aesthetic value, and examples of embroidered and crocheted pieces could be found in most Australian homes, decorating or protecting furniture, floors and walls, and keeping off flies and insects from food.Small square needlepoint doily with kangaroo pattern and beaded triangular fringe. Centre is white with pink clear beading.doily handcrafts needlework beading richardson-alan

Marjorie McKeown (nee Ford) was an excellent needlewoman and has made this cushion cover.This item is an example of a handcrafted item and reflects the needlework skills of women in the early 20th century when women's focus was the home and its decoration was important. Embroidery and crochet work was an affordable way to personalise and add aesthetic value, and examples of embroidered and crocheted pieces could be found in most Australian homes.A cushion cover made of black fabric, embroidered with large roses on stems and hand painted over the roses. cushion-cover womens-needlecraft handcrafts

Made and donated by Marjorie McKeown (nee Ford). This item is an example of a home-made item and reflects the needlework skills of women in the ffirst half of the 20th century when women's focus was the home and its decoration was important. Two black curtains made of heavy material. One is a straight curtain with a pocket hem and the other is smaller, with a curved lower hem and a deep black fringe. Both curtains have been decorated with large appliqued flowers and birds.home-decoration womens-handcrafts

This appears to be unused as it is starched.This item is an example of a handcrafted item and reflects the needlework skills of women in the early 20th century when women's focus was the home and its decoration was important. Embroidery and crochet work was an affordable way to personalise and add aesthetic value, and examples of embroidered and crocheted pieces could be found in most Australian homesA hand embroidered cushion cover. It is cream coloured with blue edging. In the centre is an orange diamond shape with an oval in the centre. There is a vase with flowers branching out. They are yellow and pink. The cover closes with 3 press studs.handcraft embroidery cushion-cover

this item was made to commemorate the coronation of Queen Elizabeth !! in 1953. In June 1953 , Elizabeth II was crowned Queen of the United Kingdom, Canada, Australia, New Zealand, South Africa, Ceylon (now Sri Lanka), and Pakistan, and became the Head of the Commonwealth. Many souvenirs were made to mark this occasion. Some were unique and hand-made. The main sources for crochet and other needlework designs available to women were in journals, magazines and pattern books.This milk jug cover reflects an important pastime for Australian women of the late 19th to mid 20th century. Women's focus was the home and its decoration was important. Embroidery and crochet work was an affordable way to personalise and add aesthetic value, and examples of embroidered and crocheted pieces could be found in most Australian homes, decorating or protecting furniture, floors and walls, and keeping flies and insects away from food. It is also a tangible souvenir of the coronation of Queen Elizabeth 11.A rectangular jug cover hand crocheted in white thread. It has blue and red beads sewn into the edges. the design is "JUNE" above a crown with "E 11 R 1953" below the crown.

This painting is one of a pair of large paintings by W. Langley-Taylor in our collection. Currently, no further information has been found about the artist but research is ongoing. The subjects of these paintings are seascapes of notable areas of the coast on each side of Port Phillip Bay, south of Melbourne, Victoria. The subject of this painting is Cape Schanck, Victoria, which is on the east side of Port Phillip Bay. It includes the Cape Schanck Lighthouse and its Flagstaff. The Cape Schanck Lighthouse was built in 1859 and is the second of Victoria’s coastal lights. It is 21 metres tall and made from limestone. Unusually, its stairway is made from stone rather than wrought iron. Gilded tours are available to explain its use and significance to visitors. The lighthouse keepers at Cape Schanck kept records of the ships that sailed past them along Bass Strait; ship’s names, direction, time and date and so on. The details would also be passed on to shipping agencies, Harbour Masters and newspapers, which published Arrivals and Departures into and out of shipping ports such as Port Phillip Bay and the Port of Melbourne. INSCRIPTIONS “Mrs M Irby” (and on the Eagle Rock, Warrnambool, painting “980/Regency”) The inscription “Mrs M Irby” is on the back of both paintings but the significance of the inscription has not yet been discovered. Perhaps she was connected with the ship or shipping company “Irby”. A ship named “Irby”, built in Merseyside, Liverpool in 1881 by R & J Evans, Birkenhead. It was a four-masted iron ship built for the White Star Line. Henry Wilson Hewitt bought her in 1882, then later she was owned by Chadwick & Pritchard. In 1888 she was registered under the Irby Ship Co. Ltd. (trading as J. Joyce) in Liverpool. In 1912 Galgate Co. Ltd owned her. She traded between London, England and Australia, and is recorded as being in Melbourne and Hobart. In 1919 the Irby was destroyed by a mine when on her way to England. Or perhaps her name and the inscription in pencil “980/Regency” on the Eagle Rock Warrnambool, painting could be a delivery address for the paintings, perhaps an apartment in a hotel. NOTE: The artist’s spelling of the title “Cape Schank, Vic.” is incorrect. The location in this painting is named Cape Schanck. This painting is significant geographically for its representation of the coastal scenery of Victoria, Australia. It is also significant as one of a pair of paintings of seascape, one at sites each side of Port Phillip Bay. The painting is significant historically as an example of late 19th and early 20th methods and materials used to construct a painting’s frame. Painting oil on board in a dark wooden frame, portrait orientation. Seascape of coast with cliffs, lighthouse and flagstaff, flying birds, high waves breaking onto rocks, blue sky with clouds. The title is painted on lower left corner and the Victorian artist, W. Langley-Taylor, has signed his name on lower right. The inscription on back is handwritten script in red crayon or thick red pencil. The board is held in place inside the timber frame with small, dark metal tacks around all sides. Metal eyes join the wire to the frame. Small round, dark metal nail heads are dispersed around the frame and there is a change of colour on both the board and the wood of the frame. Painted on front “W.LANGLEY-TAYLOR.” and “CAPE SCHANK, VIC.” [NOTE: correct spelling is Schanck] Handwritten on back “Mrs. M. Irby” flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, painting, oil painting, cape schanck painting, w. langley-taylor, wall decoration, seascape of victoria's coast, art, mrs m irby, victoria's coast, pair of paintings

This painting is one of a pair of large paintings by W. Langley-Taylor in our collection. Currently, no further information has been found about the artist but research is ongoing. The subjects of these paintings are seascapes of notable areas of the coast on each side of Port Phillip Bay, south of Melbourne, Victoria. This painting is of Eagle Rock, Warrnambool, which is on the west of Port Phillip Bay. Eagle Rock is located about 400 metres west of Thunder Point, near Shelly Beach. The painting includes the rocky cliff formations looking east towards the Warrnambool Breakwater. The walk from the Thunder Point car park westwards to Shelly Beach has been popular over the decades with residents as well as tourists. Many photographs include the rock, with varying backgrounds depending on the angle of the camera. It is a popular dive site for locals and visitors, in calm weather! The site can be approached by boat from the open sea in favourable conditions, and there is plenty of native marine to be seen in this marine sanctuary. This part of Warrnambool’s rugged coastline is unprotected from the Southern Ocean with its wild icy winds and high seas. The painting’s crashing waves and the northerly direction of the smoke on the steamship sailing north show the effect of the southerly wind. INSCRIPTIONS “Mrs M Irby” and “980/Regency” The significance of the inscription “Mrs M Irby”, on the back of each of the two paintings, has not yet been discovered. Perhaps she was connected with the ship or shipping company “Irby”. A ship named “Irby”, built in Merseyside, Liverpool in 1881 by R & J Evans, Birkenhead. It was a four-masted iron ship built for the White Star Line. Henry Wilson Hewitt bought her in 1882, then later she was owned by Chadwick & Pritchard. In 1888 she was registered under the Irby Ship Co. Ltd. (trading as J. Joyce) in Liverpool. In 1912 Galgate Co. Ltd owned her. She traded between London, England and Australia, and is recorded as being in Melbourne and Hobart. In 1919 the Irby was destroyed by a mine when on her way to England. Or perhaps her name and the inscription in pencil “980/Regency” on the Eagle Rock Warrnambool, painting could be a delivery address for the paintings, perhaps an apartment in a hotel. This painting is significant geographically for its representation of the coastal scenery of Victoria, Australia. It is also significant as one of a pair of paintings of seascape, one at sites each side of Port Phillip Bay. The painting is significant historically as an example of late 19th and early 20th methods and materials used to construct a painting’s frame. Painting oil on board in a dark wooden frame, portrait orientation. Seascape of rock formation and cliffs, two yachts, a two-masted steamboat with red funnel and smoke, flying birds, high waves breaking onto rocks, blue sky with clouds, some tinted pink.. The title is painted on lower left corner and the artist, W. Langley-Taylor, has signed his name on lower right. The inscription on the back is a handwritten script in red crayon or thick red pencil. The board is held in place inside the timber frame with small, dark metal tacks around all sides. Metal eyes join the wire to the frame. Small round, dark metal nail heads are dispersed around the frame and there is a change of colour on both the board and the wood of the frame. Painted on front “W.LANGLEY-TAYLOR.” and “EAGLE ROCK, WARRNAMBOOL, VIC.” Handwritten on back “Mrs. M. Irby” and “980 [underlined] Regency”flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, eagle rock warrnambool, w. langley-taylor, oil painting, wall decoration, seascape of victoria's coast, mrs m irby, art, seascape, pair of paintings

Picture, coloured print in frame of European rural setting with cows, goats, sheep, dog, girl, boy in barn. Framed. In bottom left corner of print "F Kurz" Signature in bottom left "F Kurz" flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, picture, wall decoration, art, f kurz, print, european farm scene

In the 19th and early 20th centuries, J. & G. Meakin were important, large-scale producers of good quality, ironstone tableware (‘White Granite’ ware) that met a ready market in the United States, South America, Australia, and other traditional British markets. By the 1890s the company was one of the world’s largest earthenware manufacturers. Although export teaware and tableware was the factory’s staple commodity, Meakin also manufactured toilet ware, kitchen ware and a wide range of fancy earthenware. The company was amongst the first British pottery firms to experiment with modernist designs associated with the art deco period. The Moderne' range was introduced in 1929 consisting of an angular shape decorated design with geometric patterns and often highlighted with silver or gold. This range remained in production through the 1930s. Post 1945 the company introduced the streamlined Studio shape (1953) and Horizon shape (1955) both heavily influenced by the Russell Wright ‘American Modern’ tableware. In 1964 a new Studio shape was released with tall streamlined coffee pots used as the background for many contemporary patterns now associated with the 1950s and 1960s. Designs by Jessie Tate and Eve Midwinter, some originally found on Midwinter shapes, also appear on 1970s Studio ware. The Studio range was one of Meakin’s most successful and continued in production until the late-1970s. The enormous range of floral, geometric, and abstract designs make Studio Ware collectible in its own right. In the 1970s and 1980s as part of the Wedgwood Group Meakin produced contemporary products under the ‘Bull in a China Shop’ and ‘Creative Tableware’ names. ‘Sol’ (c.1912-1963), ‘Studio’ (1953 on) and ‘Royal Staffordshire’ (post 1968) were important J. & G. Meakin Ltd trade names. Meakin marks are numerous, but all include the J. & G. Meakin name. The significance of this item and pottery generally is that often earthenware is portrayed as being a landmark in the evolution of humanity. This is because these items are the few things from the past that have survived in a tangible form. Pottery is an important functional part of society and it has a critical role to play as it helps archaeologists to date other artefacts of the same time period. Also, the decorations on pottery have told much about the beliefs, lifestyles and lives of the people who bought them and used them. In other words it gives us today a snapshot of society from the past and how people used these items in their daily lives, their likes as well as societal and design trends. Earthenware white glazed ironstoneJ & G Meakin Hanley England stamped to base, with white flora designwarrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, pottery, earthenware, iron stone, alfred meakin, james meakin, george meakin, earthenware manufactures, chamber pot

In the late 19th and early-20th centuries household heaters burned wood and coal for heating. In winter the warm air from the fireplace would flow into the room through a round flue in the face of the chimney. In the warmer months the unnecessary heater and flue was removed and the chimney cleaned. Homemakers then covered the circular flue hole with a decorative and usually inexpensive wall hanging to prevent draughts and dust. The practice was especially popular in France and Germany where a lot of the artwork originated. The covers were no longer needed after households changed over to more modern designs of heaters. The flue covers were known as Wall Art or Flue Cover Art. They were usually round and illustrated with a lithograph or chromograph print. The picture was then mounted on card, covered with glass, and framed with a brass or tin rim. The border was commonly gilt with a black stripe around the centre. There were numerous illustrations, many with a European appearance, and were easily bought through local merchants for a small price.This pretty flue cover is significant for representing a common domestic wall decoration from the late Victorian to the Edwardian eras, when solid fuel heaters were used in low to high income homes. The picture is similar to many other flue cover images, apart from the holly clutched in the girl’s hand, which gives the cover a Christmas theme. This flue cover is the only one in our collection and appears to have a unique design; the hand painted floral decoration on the glass and the two crimson rings around the edges of the frame’s white border haven’t been seen on other flue covers. Flue cover, metal and glass. Print of a young girl with blue eyes and curly blonde hair, a hooded blue cape, a silver clasp with blue stones, and a sprig of holly in her hand. The round metal frame forms a deep, white-painted, crimson-edged border for the illustration. The hand-painted blue flowers on the glass front form add to the border and give a 3-dimensional effect. The picture is between the cardboard backing and the glass front, with the metal frame holding them together. There is a metal chain attached for hanging the cover.warrnambool, flagstaff hill maritime museum, picture, handpainted, portrait, girl in blue cape, metal frame, round picture, illustration, print, holly, christmas, child in blue cape, silver and blue clasp, holly sprig, late 19th century, early 20th century, 1890s-1930s, victorain, edwardian, flue cover, flue cover art, wall art, chimney flue cover, chimney hole cover, stove pipe cover, fireplace flue cover, antique, victorian, glass frame, chromograph, lithograph, tin, brass, lithograph print, chromo print, christmas girl, blue cape, blonde girl

This picture is an inexpensive item made for domestic decorative use. This picture is currently not associated with a historical event, person or place at this time and is being used to augment Flagstaff's village display.Picture in a gilded frame behind glass. Print of a man, dog, and two horses in a barn. Print is on grainy paper.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, flagstaff hill maritime village, great ocean road, print, wall decoration, art, farm scene

Shepherding is among the oldest occupations, beginning some 5,000 years ago in Asia Minor. Sheep were kept for their milk, meat and especially their wool. Over the next thousand years, sheep and shepherding spread throughout Eurasia. Henri Fleisch tentatively suggested the Shepherd Neolithic industry of Lebanon may date to the Epipaleolithic and that it may have been used by one of the first cultures of nomadic shepherds in the Beqaa Valley. Some sheep were integrated in the family farm along with other animals such as chickens and pigs. To maintain a large flock, the sheep must be able to move from pasture to another pasture. This required the development of an occupation separate from that of the farmer. The duty of shepherds was to keep their flock intact, protect it from predators and guide it to market areas in time for shearing. In ancient times, shepherds also commonly milked their sheep, and made cheese from this milk; few shepherds still do this today. In many societies, shepherds were an important part of the economy. Unlike farmers, shepherds were often wage earners, being paid to watch the sheep of others. Shepherds also lived apart from society, being largely nomadic. It was mainly a job of solitary males without children, and new shepherds thus needed to be recruited externally. Shepherds were most often the younger sons of farming peasants who did not inherit any land. In other societies, each family would have a family member to shepherd its flock, often a child, youth or an elder who couldn't help much with harder work; these shepherds were fully integrated in society. Shepherds would normally work in groups either looking after one large flock, or each bringing their own and merging their responsibilities. They would live in small cabins, often shared with their sheep, and would buy food from local communities. Less often shepherds lived in covered wagons that travelled with their flocks. Shepherding developed only in certain areas. In the lowlands and river valleys, it was far more efficient to grow grain and cereals than to allow sheep to graze, thus the raising of sheep was confined to rugged and mountainous areas. In pre-modern times shepherding was thus centred on regions such as the Middle East, Greece, the Pyrenees, the Carpathian Mountains, Scotland and Northern England. https://en.wikipedia.org/wiki/Shepherd The Shetland Sheepdog, often known as the Sheltie, is a breed of herding dog that originated in the Shetland Islands of Scotland. The original name was Shetland Collie, but this caused controversy amongst Rough Collie breeders of the time, so the breed's name was formally changed. This diligent small dog is clever, vocal, excitable and willing to please. They are incredibly trustworthy to their owners to the point where they are often referred to as "shadows" due to their attachment to family. This breed was formally recognized by The Kennel Club (UK) in 1909. Like the Shetland pony, Shetland cattle and the Shetland sheep, the Shetland Sheepdog is a hardy but diminutive breed developed to thrive amidst the harsh and meagre conditions of its native islands. While the Sheltie still excels at herding, today it is often raised as a working dog and/or family pet. https://en.wikipedia.org/wiki/Shetland_Sheepdog The Rough Collie (also known as the Long-Haired Collie) is a long-coated dog breed of medium to large size that, in its original form, was a type of collie used and bred for herding sheep in Scotland. More recent breeding has focused on the Collie as a show dog, and also companion. The breed specifications call for a distinctive long narrow tapered snout and tipped (semiprick) ears, so some dogs have their ears taped when young. Rough Collies generally come in shades of sable and white (sometimes mahogany), blue merle, tri-coloured, and colour-headed white. There is a smooth-coated variety known as a Smooth Collie; some breed organisations, including both the American and Canadian Kennel Clubs, consider smooth-coat and rough-coat collies to be variations of the same breed. Rough Collies closely resemble the smaller Shetland Sheepdogs or "Shelties", but the two breeds do not have an exclusive linear relationship. https://en.wikipedia.org/wiki/Rough_Collie This picture shows a typical Scottish scene with a shepherd in kilt and his two sheepdogs.Picture, print of old Scotsman sitting on a stone slab with his dogs nearby. Framed, glass covered colour print. Marked "A SHEPHERD AND HIS FRIENDS", "1897" , "Drummonds" (on picture). Marked "A SHEPHERD AND HIS FRIENDS", "1897" , "Drummonds" (on picture). flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, print, picture, wall decoration, shepherd and dogs, a shepherd and his friends, shetland sheep dog, rough collie

This wallpaper section is from the original Warrnambool Lighthouse Keeper's Quarters built in the late 1850s on Middle Island, and the building was moved to Flagstaff Hill in 1871-72. The wallpaper was salvaged from Assistant Keeper's residence (Shipwreck Museum) during heritage works in 2023, to upgrade the ageing exhibition space in the historic building.The wallpaper section is significant for its association with the Warrnambool Lighthouse Keeper's Quarters from the late 19th to early 20th centuries. It is also significant as an example of the paper, method of displaying and pattern on the paper, an indication of the materials and patterns available to decorate homes in those times.Wallpaper sample, irregular shape. Wallpaper has been recovered from behind a 1970s built feature in the Warrnambool Lighthouse Keeper's Residence, Assistant's Quarters. The light-coloured textured paper has a small cream-coloured embossed pattern. The sample has two layers of thickness and the back layer is two overlapping pieces. There are holes along the edge where the paper was fixed to another surface.flagstaff hill, warrnambool, maritime museum, shipwreck coast, warrnambool lighthouse keeper's quarters, wall paper, domestic furnishings, wall covering, domestic soft furnishing, wall decoration, wallpaper section, wallpaper, late 19th century wallpaper

This private late-nineteenth-century four-wheeled carriage has been built to transport a family or group of passengers with a coachman in the front seat. It can be pulled by one horse, or by two horses if the T-pole is attached. The button fittings along each side of the carriage indicate that a folding roof or hood was once attached. The frame across the front of the carriagewas likely to have been a ‘dashboard’ with a leather or wood covering to prevent water, mud and other particles from splashing onto the passengers. The rear step between the two side-facing bench seats is adjustable to allow for ladies’ long skirts. These rear seats appear to be removable, in which case the carriage could be converted to a wagon to transport goods and equipment. The carriage could have been illuminated by oil or carbide lamps placed into the lamp holders on the sides. The carriage was kept under cover for many years in an open-front sandstone building that also included living quarters and an area that may have been stable. It was at ‘Murweh’ a Warrnambool property at 203 Liebig Street. The home is now Heritage and National Trust Listed and described as a ‘gentleman’s residence’. It was built by James Wotton Shevill in the 1860s. Shevill was a councillor from 1875 to 1878, serving in 1878 as Mayor of the Borough of Warrnambool. Jeremiah Wade lived at Murweh there from 1879-1880. By 1915 F.B. Whitehead and his family were living there, and by 1930 the address was used by Mr T.J. Rome and his family. Thomas James Rome was still using that address in September 1973 after his 100th birthday. It is believed that one of the property’s owners had been an Obstetrician in Warrnambool. The current owner re-told the story that children used to hide in the back section of the carriage and smoke, hidden from the sight of onlookers. He had heard the story from a previous owner.The well-appointed horse-drawn four-wheeled carriage is likely to have first belonged to a local councillor and past Mayor of the town of Warrnambool, J.W. Shervill, whose 1860s city property was the carriage location for many years. The carriage is a rare local example of a town-based lifestyle befitting a prosperous personality of the late 19th century. It adds to the story of Warrnambool's development as a town influenced by the port, wealth gained from shipping and the home place of prominent local people such as the Councillor and later Mayor. The side-facing rear seating is unusual for a passenger carriage. It has the feature of removable rear bench seats, allowing for the dual purpose of a carriage or wagon.Carriage; the Victorian-era horse-drawn four-wheeled open carriage has a coachman’s bench seat across the front and two side-facing bench seats in the rear. There are steps at the front on each side and a centre adjustable step and the back. It has a hinged shaft, two lamp holders and a separate T-pole. The bench seats have padded backrests upholstered in green leather and each has padded armrests at the ends. A rectangular metal frame, likely to have been a dashboard, is mounted across the front of the carriage. It has two inner vertical bars. The carriage's body is painted dark green with crimson highlights on some of the panelling. Decorative oval panels with hand-painted motifs are mounted along the sides. The side panels of the carriage have metal fastener buttons attached. The iron-rimmed wheels have sixteen wooden spokes and copper cuffs on the outside of the hubs, and the rear wheels are higher than the front wheels. Wooden brake blocks are mounted onto the back wheels and are active by a metal lever at the front right side of the carriage. The undercarriage is fitted with leaf springs on each side, mounted from front to back axles. Included are: (1) The separate T-pole that allows two horses to be harnessed to the carriage (2) Leather horse winkers with metal hardware and oval brass plate on the side of each winkerMotif painted on an oval panel [a musical lyre within a blue floral wreath flanked by scrolls] flagstaff hill maritime museum and village, warrnambool, great ocean road, shipwreck coast, murweh, buggy, cart, carriage, wagon, horse-drawn vehicle, victorian buggy, four-wheeled carriage, coachman’s seat, bench seat, side-facing benches, upholstered seats, victorian decals, heritage vehicle decoration, antique hand painting, hand painted decals, motifs, iron-rimmed wheels, wooden brake blocks, leaf springs, t-pole shaft, rear step, equine carriage, 19th century vehicle, victorian transport, transport, gentleman’s vehicle, james wotton shevill, councillor, mayor, jeremiah wade, f.b. whitehead, thomas james rome, warrnambool obstruction, warrnambool genealogy, warrnambool pioneers, victorian carriage, one horse carriage, two horse carriage, horse drawn carriage