A4 size book with photograph of 7 women and 3 children in c1890sworking clothing and long white aprons, sitting and standing in front of a hedge with washing draped over the hedge. The two girls on the right are wearing wide-brimmed hats. The title is in white print on a band of dark blue across the middle. The bottom third features an early image of Warrnambool and the author's name in dark blue.non-fictionA history documenting the lives of women in Warrnambool and district between 1840 and 1910.warrnambool, history of warrnambool, 19th century women, women pioneers, silent lives, elizabeth o'callaghan, cover design james colquhoun

Illustrated book with white front cover that has four coloured illustrations of women in various activities. Title and authors' names are printed in red ink, along with a book description in black ink on the front cover along with publisher's logo and four red lines. Abbreviated title, underlined, in white ink, and authors names in black ink are printed on an orange background on the spine along with the publisher's logo. The back cover has a summary of the book printed in orange, along with another three illustrations of women, publisher's logo and 'Victoria 150 ' logo on a yellow background.non-fictionThis book explores the experiences of women in Victoria over 150 years, highlighting their diverse roles in public and private life. It features more than fifty women, from convicts to nuns, actresses to soldiers, settlers to writers, and housewives to political activists, showcasing their social and personal diversity. The book emphasizes the home's importance, alongside the marketplace, and examines the significance of both reproduction and production. It provides a new perspective on Australian history, focusing on women's place, relationships between public and private life, paid and unpaid work, and the intersection of politics and gender. women-victoria-history-19th century, women-victoria-history=20th century, women-victoria-social conditions

These cotton drawers are typical of the ones worn during the 19th century by women. Its original owner is unknown, but it was purchased in the late 1990s by the donor who later moved to Emerald but, at the time, had a 2nd hand decoration shop in Camberwell when she purchased this as part of a group of garments which included bloomers, lace collars and cuffs, camisoles etc. - all of which have been donated to the Museum. The donor was informed at the time of purchase that the garments were over 100 years old.These cotton drawers are typical of the ones worn by women during the 19th century. Their simple and open design were made for convenience when paired with the corsets and layers of chemises and other covers that were popular at the time.Cotton drawers with lace-trimmed (red ribbon inserted) at end of legs. The waist band had three buttonholes on the front and two buttonholes on the back. The back end front waist bands are separated.female, point d'esprit, lynne findlay collection, clothing

Mixing bowls of this design were a common item in Austrailan kitchens in the late 19th and early 20th centuries. Women worked largely in the kitchen producing three meals daily for their families and, on farms, for the workers or casual labourers.Local significance for the history of women's work, especially the domestic duties of baking and cooking. Round, cream-coloured, ceramic mixing bowl with pouring lip, fluted design.baking, cakes, mixing bowl, kitchenware, women s work, domestic utensils, home cooked meals

Shoe-making began in Australia among the penal colonies in 1790 who crafted shoes from imported leather. The first Australian-made shoes were expensive and many people were sent back to England for their shoes until the 1830s. However, in the years after Australian shoe-making became more accessible and affordable. Toward the end of the 19th Century, many wealthy women became obsessed with the latest fashions for both themselves and their children. Shoe-making became a profitable business for several leading companies during the 20th Century, as the industry was seen as a successful and practical item that most Australians required.The baby shoe holds significance as it represents the craftsmanship of Australian leather shoe-making from the 20th Century. As the style of shoe is more modest and stylish, it can be assumed that it was the type of footwear used for the Church Sunday Service or for special occasions, with further gives insight into the social constructs of Chiltern, a rural town in Victoria, at that time.Black leather with wool pom pom attached with a metal stud. Leather sole is black and the inner of the shoe is cream. Discolouration on the bottom of the shoe due to dirt.chiltern, shoe, footwear, leather shoe, baby shoe, chiltern athenaeum

Shoe-making began in Australia among the penal colonies in 1790 who crafted shoes from imported leather. The first Australian-made shoes were expensive and many people were sent back to England for their shoes until the 1830s. However, in the years after Australian shoe-making became more accessible and affordable. Toward the end of the 19th Century, many wealthy women became obsessed with the latest fashions for both themselves and their children. Shoe-making became a profitable business for several leading companies during the 20th Century, as the industry was seen as a successful and practical item that most Australians required.The baby shoe holds significance as it represents the craftsmanship of Australian leather shoe-making from the 20th Century. As the style of shoe is more modest and stylish, it can be assumed that it was the type of footwear used for the Church Sunday Service or for special occasions, with further gives insight into the social constructs of Chiltern, a rural town in Victoria, at that time.Black leather shoe. Leather sole is black and the inner of the shoe is tan. Discolouration on the shoe due to dirt.chiltern, shoe, footwear, leather shoe, baby shoe, chiltern athenaeum

Published: 26 Dec 1933 The Age p9 Published title: "ON CHRISTMAS MORNING--BATHING AT ST. KILDA." Published caption: "Yesterday morning everyone who was near the bay seized the opportunity for a cooling dip. St. Kilda foreshore was particularly well patronised, as this picture shows." Trove article identifier: http://nla.gov.au/nla.news-article203364944 Description: Large group of swimmers at St Kilda Beach on Christmas morning. Research by project volunteer, Louise McKenzie: Approximately 150 men, women and children grouped in front of the photographer in the shallows of St Kilda Beach on Christmas morning 1933. All are wearing one piece bathing suits, some have bathing caps, some hold beach balls, and one boy has a model boat. They are happy and exuberant. Their swimming attire is traditional and conservative for the time. However at this time the bathing attire was undergoing a substantial change, as Wikipedia’s History of Swimwear attests. The English practice of men swimming in the nude was banned in the United Kingdom in 1860. In the first half of the 19th century the top became knee-length while an ankle-length drawer was added as a bottom. By the second half of the 19th century, in France, the sleeves started to vanish, the bottom became shorter to reach only the knees and the top became hip-length and both became more form fitting. In the West, in the 19th century women wore a bathing gown in the water. These were loose ankle-length full-sleeve chemise-type gown made of wool or flannel, so that modesty or decency was not threatened. They were long dresses of fabrics that would not become transparent when wet, with weights sewn into the hems so that they would not rise up in the water. The men's swim suit, a rather form-fitting wool garment with long sleeves and legs similar to long underwear, was developed and would change little for a century. By the second half of the 19th century, in France, the sleeves started to vanish, the bottom became shorter to reach only the knees and the top became hip-length and both became more form fitting. In the 1900s women wore wool dresses on the beach that were In the Victorian era, Western cultures deplored nudity of any degree, and people took great pains to cover themselves, even bare chested male swimmers at ocean beaches. In the 1910s despite opposition from some groups, the form-fitting style proved popular. It was not long before swimwear started to shrink further. At first arms were exposed and then legs up to mid-thigh. Necklines receded from around the neck down to around the top of the bosom. The development of new fabrics allowed for new varieties of more comfortable and practical swimwear. The name "swim suit" was coined in 1915 by Jantzen Knitting Mills, a sweater manufacturer who launched a swimwear brand named the "Red Diving Girl”. During the 1920s and 1930s, people began to shift from "taking in the water" to "taking in the sun", at bathhouses and spas, and swimsuit designs shifted from functional considerations to incorporate more decorative features. By the 1930s men began to go without shirts for swimming and barechestedness in male swimwear became the norm by the end of the 1940s, including in competitive swimming events. Following a fire in 1925, the nearby St Kilda Baths were reopened in 1931 – with separate “enclosures” for men and women. But here in the Bay just a few years later, everyone is happily enjoying the refreshing seaside event. References: History of Swimwear, Wikipedia, https://en.wikipedia.org/wiki/History_of_swimwear Jantzen Red Diving Girl, Oregon History Project, https://www.oregonhistoryproject.org/articles/historical-records/jantzen-red-diving-girl/ European History 1900-1950, St Kilda Historical Society, https://stkildahistory.org.au/about/timeline-1900-1950Photographer notations on slide: "Christmas morning St Kilda Age B9".

This sampler booklet was made by Rose Plummer. She was born in Albury in 1886. During late 19th and early 20th centuries, women and girls made handicraft samplers as essential educational tools to learn and display needlework skills and record patterns. These embroidered pieces served as both a "textile Curriculum Vitae" for working-class girls and a public declaration of accomplishment and diligence for girls of all backgrounds. Simple samplers were a standard part of a girl's education and often simply recorded the alphabet, numbers, and more advanced stitches through a process of repetition and imitation. The samplers were also a way to record and share decorative patterns and stitches. They demonstrated a young girl's proficiency in needlework and sewing, essential skills for household linen and mending. For working-class girls, samplers acted as a practical "textile Curriculum Vitae," showcasing their sewing abilities to potential employers for domestic service or related employment. This book was donated to the Wodonga & District Historical Society by Nancy Beasley, daughter of Rose Plummer.A book filled with samples of embroidery and crochet work.embroidery skills, women's craft

These hair tongs were used to curl or wave hair. They have the name’ Marcel’ on them. In 1872 Francois Marcel Grateau invented a hairstyle called the ‘Marcel Wave’ where women’s hair styles had mostly deep waves rather than curls. The tongs that were held manually and heated and used at home to produce deep waves or curls become a commonplace item in a woman’s home in the late 19th and early 20th centuries. By the 1930s electric hair tongs were introduced but the non-electric ones continued to be used until the 1950s. These hair tongs belonged to a woman from England and would have been used in the 1930s or 40s. They are a good example of the type of household article used by women 70 or 80 years ago and will be useful for display.This is a scissors-like article with wooden handles and metal blades for waving or curling hair. One blade is heavily curved and the other is a solid round shape. The ends of the blades are tapered. The blades were heated over a stove and used manually to enclose part of a woman’s hair to produce waves or curls. The handles were originally polished black and are somewhat rubbed and the blades and other metal parts are a little rusty. ‘Marcel’ ‘12’ hair curling tongs, warrnambool

This singlet has been made as a swimming singlet or top for a man to wear loosely over swimming trunks. It dates from about the 1920s. Both men and women in the 19th and early 20th centuries wore swimming costumes that modestly covered most of the body and for public bathing they usually bathed separately.This item has no known local provenance but is of interest as a vintage piece of men's clothing.This is a navy cotton singlet with a rounded neckline and beige-coloured cotton edging around the neck, sleeve holes and bottom end. There is a printed label at the inside top of the neck. Made In Australia Magpievintage swimming costumes, warrnambool sea baths

This is a soft cover book of 340 pages. It has a purple cover with a reproduction of a 19th century painting on the front cover and material about the contents of the book on the back cover. The spine is an orange colour with black and white printing. The book has an introduction by Kylie Tennant, an afterword by Dale Spender and 29 chapters of a novel. fictionA novel outlining the difficulties faced by 19th century women wishing to pursue a career.mary gaunt, history of warrnambool, women in literature

This is a soft cover book of 178 pages. The cover is yellow with an image in sepia tones of Mary Gaunt. The lettering on the front cover and on the spine is green and black. The back cover contains critical comments on Mary Gaunt’s work and information on the editor. The book has a map, an introduction, a list of the sources of the stories, twelve short stories, a list of works by Mary Gaunt and a note on the author by the editor. fictionA collection of short stories by Mary Gaunt, edited and published by Bronwen Hickman.mary gaunt, dr h.l.miller, whiskey stills in the warrnambool district (19th century), history of warrnambool, australian women writers

This croquet mallet was presented to Mrs Huffer when she was the champion player at St. John’s Presbyterian Church Croquet Club in Warrnambool in 1957-8. Croquet has been a sport played particularly by women since the second half of the 19th century. It was popular in Warrnambool and was a competition sport with several clubs from the beginning of the 20th century. St. John’s Club was operative in the 20th century but no longer exists. Mrs W. Huffer was the wife of William Huffer who was an employee and then the manager of the Grasmere Butter and Cheese Factory from 1940 to 1963 when it closed. His father before him had been the manager of the factory from 1918 to 1944. The Huffer family had come to Warrnambool from Gippsland. This croquet mallet has been well used.This mallet is of significance as a memento of St. John’s Croquet Club in Warrnambool and of the Huffer family associated with the local dairying industry for the first half of the 20th century. This croquet mallet was presented to Mrs Huffer when she was the champion player at St. John’s Presbyterian Church Croquet Club in Warrnambool in 1957-8. Croquet has been a sport played particularly by women since the second half of the 19th century. It was popular in Warrnambool and was a competition sport with several clubs from the beginning of the 20th century. St. John’s Club was operative in the 20th century but no longer exists. Mrs W. Huffer was the wife of William Huffer who was an employee and then the manager of the Grasmere Butter and Cheese Factory from 1940 to 1963 when it closed. His father before him had been the manager of the factory from 1918 to 1944. The Huffer family had come to Warrnambool from Gippsland. This croquet mallet has been well used.‘Champion of St, John’s A Grade Mrs W. Huffer 1957-8’ ‘STC Sil’23 croquet mallet, st john's presbyterian church warrnambool, warrnambool, huffer

These items have no provenance but would be useful for display purposes. They are typical of the Victorian era displaying the romanticized beauty of children and young women. Flowers, gardens and pets were also displayed in this manner. This is all amply displayed in these two prints. Items were also quite readily and cheaply mass produced and thus available for many people to cheaply decorate their homes in the latest styles. Reproduction was possible and popular resulting in an enduring style which could be said to be eclectic The Victorian Era is named after the reigning monarch, of the second half of the 19th century Queen Victoria.This pair of prints has little provenance but being typical of the era will be useful for display. These are a matching pair of framed prints of a young boy and girl with a wide dark green border around the edge with a row of dots on the outside of the glass. The boy is holding posy of violets and the girl a fan. The edge is finished in a metal, possibly tin. Both are backed with heavy card. The glass on the girl frame is broken .There is a small metal chain from the girl frame.warrnambool

This item is a World War One certificate featuring Walter Coulstock. Private Walter George Coulstock, an engineer, was born in Warrnambool and educated at the Warrnambool Academy. He enlisted at the age of 21 in August 1914, embarked in October 1914 and while travelling to Egypt he entered the machine gun section. He was wounded on the afternoon of the Landing and died of wounds in May 1915. He was buried at sea while in transit to Alexandria. Walter Coulstock was one of the many men and women from Warrnambool and district who enlisted in World War One and who died on active service.This certificate is of considerable significance as it is memento of Walter Coulstock who died in World War One. The Coulstock family was a prominent one in the Warrnambool district in the 19th and early 20th centuries and Walter is one of the local heroes of the Great WarThis is a paper certificate mounted on a frame of plywood. The mount indicates that the certificate has previously been framed. The certificate has a grey background and contains images of the British and Australian flags in red, white and blue, six black and white photographs, an image of H.M.A.S. Australia, an image of a battle scene with artillerymen and black and red lettering. Pasted on to the centre part of the certificate is a yellow piece of paper with a photograph and information on Walter Coulstock. The plywood is broken at the bottom edge and is somewhat stained."For King and Country' 'The Empire Called Us' 'Walter George Coulstock, Private, 8th Battalion, Company B. Reg. No.481, Date of Enlistment August 1914walter coulstock, world war 1 certificate

This hat pin stand would have been a common object in a woman’s bedroom in the past, especially about the end of the 19th century and the beginning of the 20th century when women wore large hats and they needed large pins to hold them in place. This hat pin holder has no known local provenance but it is kept as a memento of the past and will be useful for display.This is a silver-coloured metal stand with a round base with impressed patterns on the top and a central raised oval section containing a circular spike. Near the top of the spike is a circular-shaped piece of metal in a fretwork pattern. This fretwork has been welded on and has space to insert several hat pins women’s accessories, history of warrnambool, hat pin stand

These hat pins would have been used by women wearing the large-style hats popular at the end of the 19th and the beginning of the 20th centuries. The hat pin was both a practical and an ornamental item. Smaller varieties of hat pins may still be used today. These items are retained as examples of the type of hat pins used by women over 100 years ago.These are nine hat pins, all with metal spikes and all rusted. One has a round top with an inlay of blue glass, two have aqua and cream-coloured elongated tops made from composite material, four have round black tops and two have pearl-coloured tops. One hat pin has a metal cover at the end. women’s accessories, history of warrnambool

An item such as this would have been used by a woman to put on her boots and lace them up. Button up boots were used extensively in the 19th and early 20th centuries and this item would have been common in households at that time.This item has no known local provenance but is retained as an interesting memento of the past.This is a metal shoe horn at one end of the item with a curved button hook at the other end. The item is much worn and stained.women's accessories, shoe horn, button hook, warrnambool history

This is a framed photograph of the men's pool at the Warrnambool Salt Water Baths. These Baths were originally built at the end of Gilles Street on the line of the present railway line in 1876 but were rebuilt in 1889 further north in Gilles Street when the railway line was opened. The water was pumped from the sea, initially by a windmill and later by a gas pump. The men's pool was 100 feet by 50 feet and the women's pool was 60 feet by 30 feet with bathing strictly segregated in the 19th century. A building nearby housed marble cubicles with hot spa baths with the water heated on the site and a caretaker's cottage completed the complex. Men's nude bathing was a feature of the early 20th century. Originally built by a local public company the Baths were taken over by the Warrnambool Council. These baths were superseded by the opening in 1961 of an Olympic Pool In Warrnambool. The site and the remaining buildings of the old sea water baths are now heritage-listed and today form part of the headquarters of the Warrnambool and District Historical Society.This photograph is of historical significance as a depiction of the Warrnambool Salt water Baths in the early 20th century. These Baths were the basis for promoting Warrnambool as a health and spa resort town in the late 19th and early 20th centuries.This is a framed black and white photograph of the men's pool at the Warrnambool Salt Water Baths. It depicts men and boys swimming in the circular pool and one male on the diving board. All these men are naked. There are other clothed males and clothed attendants wearing hats and waistcoats. The change rooms are on the right side of the photograph and there is a fence with trees behind. The photograph is mounted on cardboard with a gilt edge and is held in a wooden ridged frame behind glass. warrnambool sea water baths, sea baths, warrnambool pool, gilles street

This boudoir cap was worn by women wearing a negligee in the 19th century in their boudoir in the morning. In the early 20th century women wore these boudoir caps while sleeping to protect their hair styles. The name "Ogier"' inside the cap indicates that it has a connection to the Ogier family in Warrnambool.This is an interesting example of a woman's head-wear in the past.This lady's boudoir cap has white, discoloured, net with floral woven edging and leaves and dots in the body of the net. It is circular in construction drawn on thread to the centre of the head and decorated with a tassel folded over. There are two layers of lace, the bottom one is attached to a black, velvet covered wire and has bunched flowers with violet ribbon as decoration. The top layer also has the bunched flowers. The cap is lined with cream silk. The lace hangs down at the back. The brim is stiffened inside as is the crown. On the item inside is a small piece of red ribbon with a name written. OGIERvintage women's clothing, boudoir caps

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

Hair clips such as this one would have been worn by women in the 19th and early 20th centuries and would have been used to keep back long hair from around the face. Similar clips may be used today but they would more likely be made of plastic or ornamented metal. This hair clip has no known provenance but is an attractive item and is retained for display purposes.This is a curved shell (perhaps tortoise shell) hair clip with an ornamental fretwork pattern in the centre. A metal piece, slightly curved, is attached to the clip with a screw. vintage hair clips, history of warrnambool

This item comes from the estate of Dorothy and Agnes Ardlie of Warrnambool. Dorothy Ardlie (1910-1993) and Agnes Ardlie (1915-1993) were the daughters of Arthur and Ethel Ardlie of Warrnambool, the granddaughters of the prominent Warrnambool lawyer, William Ardlie and his wife Mary and the great granddaughters of John and Mary Ardlie, pioneer settlers in Warrnambool. The trophy was won by Agnes Ardlie in 1950. The Warrnambool Golf Club was established in the late 19th century and the game was played by both men and women at Albert Park until 1929 when it shifted to its present day course in what was once part of the old Western Reserve. This trophy is of interest as a mid 20th century memento of a member of a prominent family in Warrnambool, Miss Agnes Ardlie and of the Warrnambool Golf Club.This is an electro-plated nickel silver mug with a circular base, a tapering body and a handle. It is much stained. There is an inscription on one side of the mug and a maker’s name on the base but this is not decipherable. Warrnambool Golf Club ‘B’ Grade Scratch Event 1950 Miss A.M. Ardlieardlie family, history of warrnambool

A safari helmet was also called a pith helmet as it was made of sholapith material. It was first used by the Spanish forces in the Spanish East Indies and by the mid 19th century was used extensively by military forces in tropical countries and then became common civilian headwear for westerners in the tropics by the end of the 19th century. Safari helmets are still won today in tropical countries by both men and women and are part of the dress or ceremonial uniform for many members of the armed forces and music bands. This helmet has no known local provenance but is retained for display purposesThis is a pith or safari helmet made from a cream-coloured stiffened fabric. The crown has six segments with a small dome on top with three arch-shaped breathing holes. Around the edge of the crown is a white or stiffened cream cloth (puggaree) intertwined in layers and stitched onto the crown. The brim is peaked at the front and oblong at the back and tapered from front to back. The pleated cloth band is stiffened and has two brass clips. The edge of the brim is reinforced, perhaps with wire. Inside the helmet is the brass base of the top dome in eight circular sections. The interior of the helmet has green cloth in a damaged state. headwear, history of warrnambool

These boots may have been made as a sample as they are a very small size and do not appear to have been worn. They come from the New Zealand International Exhibition held at Hagley Park, Christchurch from November 1906 to April 1907. This exhibition was the brainchild of the New Zealand Prime Minister, Richard Seddon who died before the exhibition opened. Nearly 2 million people visited the exhibition at a time when the population of New Zealand was less than one million. The exhibition was thus rated a success even though there was a financial loss. No information has been found on the bootmakers, H. Perry & Co. In the 19th and early 20th centuries boots were an essential item for women who often had to walk through unmade streets and muddy paddocks. This item is of interest as it is a memento of an important New Zealand Exhibition early in the 20th century. This is a pair of a lady’s light brown leather boots. The boots have long leather tongues with 16 eyelets either side to lace up the front instep. The laces are missing. The wooden heels are slightly raised. H. Perry & Co. New Zealand International Exhibition Christchurch 1906-7 vintage footwear, christchurch new zealand exhibition, 1906-7

This is a novel written by Ethel Patricia Stonehouse under the name of Lindsay Russell. She was born in Nhill in 1883 and was educated at Charlton State School. From 1894 on she wrote verse and short stories and worked as a journalist in Melbourne. She published her first novel in Melbourne in 1912 and lived for a time in London where she met Dr John Scott whom she married in 1914. After the First World War she came to live at Mortlake and her novel writing ceased. Most of her novels are about women rebelling –against Catholicism, Calvinism, the English class system and the restraints of marriage. Her railings against the Catholic Church and the oppression of women caused her to be a controversial figure, especially in Mortlake, but she was a popular novelist with one of her books, ‘Smouldering Fires’, selling over 100,000 copies in Australia alone. She died in 1964. No details on the inscription or the recipient of the book, ‘Isie’ have been found. The name, ‘Glasgow’ suggests that the book at some stage was connected with the Glasgow family of Wangoom. They were important local dairy farmers and cheese makers in the late 19th and early 20th centuries.This book is of great interest because it was written by an Australian woman and one who lived for many years in Mortlake, a town close to Warrnambool. The connection with the Glasgow family is also of interest. This is a hard cover book of 320 pages. The book has a dark blue cover with gold lettering on the front cover and spine and some gold scroll work on the front cover. The book has a Prologue and 22 chapters and contains advertisements at the front and the back of the book for other books published by Ward, Lock & Co. There is a black and white illustration at the front of the book with a piece of tissue paper covering it. The page at the front of the book that contains an inscription is detached. The inscription and another annotation are written in black ink. The cover is partly detached from the pages and the cover is marked and worn. ‘To Isie Wishing her many happy returns of the day From Father, 15-9-14’ ‘Glasgow’ lindsay russell, ethel stonehouse, history of mortlake, australian literature, warrnambool history, glasgow family

The Davidson brothers, James and John, were pioneer settlers in the Warrnambool district, with John establishing th property of Rosebrook in Woodford and James establishing the homestead of Woodend in West Warrnambool. Another brother William was an early storekeeper in Woolsthorpe. He died in 1904 and may be the W. Davidson who was the recipient of this book. The Midgleys came to the Yangery Creek area in 1852 and established the property of Yangery Grange. Mrs Midgley presumably belonged to one of these families from pioneer times. Ethel Davidson would be a descendant of one of the Davidson families but there were several women with this name born in the 19th century though one born to a William Davidson in 1887 may be the later owner of this book. This book is of interest because of its connection to members of the Davidson families – pioneer settlers in the Warrnambool area.This is a hard cover book of 461 pages. The cover is dark red with some ornamental borders and gold lettering. The book has two black and white full page illustrations, with the first one protected with tissue paper. The inscriptions are handwritten in blue and black ink. ‘To W. Davidson from Mrs Midgley’ ‘Ethel M. Davidson’ william davidson, ethel davidson, history of warrnambool.

Clifton Banks is the name given to a bank on the Hopkins River Estuary, about one kilometre upstream from Proudfoots Boathouse. It is at the foot of the property, Clifton which dates from the 1850s. There are several works of art and photographs depicting Clifton Banks which date from the 19th and early 20th centuries. This oil painting is believed to be the work of Emma McGeorge, the wife of Canon Samuel McGeorge, the Vicar of Christ Church, Warrnambool form 1899 to 1905. It is surmised that Emma McGeorge was encouraged by the artist Mary Norman to take up painting as a pastime or to continue with her art interests. Emma McGeorge may have been a pupil of Samuel Pearce Fuller and Mary Norman. She was successful as an exhibitor and entrant in art exhibitions in Warrnambool in the early 1900s. She died in Warrnambool in 1933. This is a highly significant art work as it has artistic merit and is one of the depictions of Clifton Banks on the Hopkins River and so has historical value. It is an example of the high standard of art work that was being produced, especially by women, in the late 19th and early 20th centuries in Warrnambool. It was bought at an auction sale in Camperdown by Les O’Callaghan in 1997. This is an oil painting, probably by Emma McGeorge, on art board of Clifton Banks on the Hopkins River. It has a gilt wooden frame with multi-tiered highly-ornamented outer frames in a gold colouring. The lower frame is discoloured (perhaps by smoke from a fire place) and there is a small piece of wood missing on the lower frame. All the gilding is slightly discoloured. The back has been sealed with pasted paper and there are old tacks and old wire for hanging the picture. There is a label on the back from W. Hickford, the Warrnambool picture framer and handwritten information on the artist and the artwork by Les O’Callaghan.Front: ‘E.Mc.G.’ Back: ‘W. J. Hickford, Picture Dealer, Framer and Gilder, Liebig Street, Warrnambool, Mounting and Repairing, Old Frames Re-gilt, Oakley Printer’ ‘603’ clifton banks, emma mcgeorge, warrnambool, hopkins river estuary

The Red Cross was formed in the 19th century as a service organization dedicated to helping those in need. The Australian Red Cross was established in 1914 and the Warrnambool Red Cross was established in the same year. Wangoom Red Cross was established at a later date. The recipe booklet was a means of funding the organization and utilizing the culinary knowledge and skills of the local women. Wangoom is a small settlement on the northern fringes of the city of Warrnambool. This booklet is of some interest as an example of the fund-raising methods used by the Wangoom Red Cross. It also shows the type of cakes and ingredients popular in 2013 (eg blueberries, muffins, mud cakes )These are three A4 pages folded to make 12 pages of printed recipes. The printing is black type on white paper with black and white sketches related to cookery. The pages are stapled.Front page: ‘Australian Red Cross, Wangoom Branch, 2013 Coffee and Cake Recipes’wangoom red cross, recipe books, warrnambool

These items are a collection of paints etc for those artists wanting to produce lustroleum and crystoleum works of art in the late 19th century and early 20th century. These works of art using lustroleum and crystoleum which were mainly metallic paints, were produced on a variety of surfaces, including glass, wood, tapestry, china and ivory. These items have no known provenance but it is known that lustroleum and crystoleum painting were popular pastimes with women in Warrnambool in the late 19th century. There are several records of women advertising classes in lustroleum and crystoleum painting in the 1880s and 90s in Warrnambool. One was these was Annie Newcombe, an art teacher who offered classes at her studio in Timor Street in 1884.This is a metal tin with a metal catch and a hinged lid. The tin contains 10 items - four glass bottles of Lustroleum, one glass bottle of gold paint, one glass bottle of purple metallic paint, one tube of green paint, one china bowl with a lip for pouring, one dish to hold paint with a broken base and one small dish for holding paint. There is also a sheet of paper containing information on the Crystoleum Company of London advertising that they supplied photographs, price list for classes, silk frames and crystal glasses. On bottles: ‘Lustroleum Registered’ ; ‘H. Bessemer, Gold Paint’, ‘Purple’, On tube: ‘Winsor & Newton, Chrome Green, Vert Anglais, London England’ crystoleum and lustroleum painting, warrnambool, paint set, artist's paints