The Fashion & Design collection of the Kew Historical Society includes examples of women’s, men’s, children’s and infants’ clothing from the 18th, 19th and 20th centuries. Items in the collection were largely produced for, or purchased by women in Melbourne, and includes examples of outerwear, protective wear, nightwear, underwear and costume accessories. This caftan is one of a number of evening dresses donated to the Fashion Collection by Dione McIntyre.The McIntyre Collection of clothing and clothing accessories forms one of the largest single donations to our Fashion & Design collection. It includes clothing and clothing accessories worn by four women in the Cohen and McIntyre families across three generations. The items worn by Melbourne architect, and Kew resident, Dione McIntyre date from the 1960s and 1970s, and include evening wear, day wear, hats and shoes. As Dione McIntyre often accompanied her husband, fellow architect Peter McIntyre, to formal events, there are a number of pieces of evening wear among the items. The McIntyre Collection also includes items worn by women of an earlier generation: by Lilian Cohen, Dione McIntyre's mother, and by her mother-in-law, the wife of the architect Robert McIntyre. At the other end of the chronological spectrum are a number of outfits belonging to, worn and donated by Annie McIntyre. These include outfits created by notable late 20th century Australian and/or international fashion designers. The McIntyre Collection is significant historically and artistically as it includes examples of design that demonstrate changing tastes in fashion over an 80-year period. The collection is also significant in that it includes the work of a large number of Melbourne designers from the 1960s to the 1990s. Full length brocade caftan highlighted on the long sleeves and the front with bands of gold brocade.Label: DECORaustralian fashion - 1960s, women's clothing, evening wear, mcintyre collection, caftans, fashion designers - decor

non-fictionWilliam Morris : décor and design. Elizabeth Wildhide (ed.) Harry N. Abrams, 1991. 192 pages. Information on pattern-matching, wall and window treatments, floor coverings, tiles and furnishingswallpapers - history, interior decoration - history, wall coverings - history

Arthur LINDSAY (1912-1990) Born Melbourne Arthur Lindsay, a relative of the Lindsay family of Creswick, studied informally under Rupert Bunny, and John Munro in 1933, and held his first Exhibition in 1938, with Peter Cox, at Riddell Galleries. In 1939, he left Australia to tour Japan, but stayed on, accepting a position with a publishing company in Hong Kong. He served with the Hong Kong Medical Corp during World War Two and was interned at Pootung Camp, Shanghai, from 1941 – 45. He held an exhibition of his internment paintings in Melbourne in 1946. Lindsay returned to Hong Kong after the War, and supervised an Advertising Agency in Singapore, Kuala Lumpar, and Bangkok. In the 1950’s he travelled to Europe, United Kingdom, Spain and France. Returning to Australia Lindsay moved to Castlemaine in 1969. A Retrospective of his Art was held at Castlemaine Art Gallery in 1991.Framed watercolour of a Coastal Scene by Arthur Lindsay.arthur lindsay, watercolour, painting, townscape

The Royal Irish Rifles was a British Army Infantry Regiment. It dates back to the reign of King George 111. In 1793 the British Army raised 2 new Regiments to meet the commitmentd of the war with the French First Republic. In 1881 under the Childers Reforms these 2 regiments were amalgamated to form the Royal Irish Rifles,it saw service in the Second Boer War, Great War. In 1921 it was renamed the Royal Ulster Rifles. Quis Separabit = "Who shall seperate us" (Latin) In 1968 under reforms of the army, was amalgamated with The Royal Inniskilling Fusiliers and the Royal Irish Fusiliers to form the Royal Irish Rangers. More information on this Regiment can be found on Wikipedia under Royal Ulster RiflesThis Royal Irish Rifles Hat badge appears to be a Pewter type alloy with brass clip. At top a Crown. Centre is harp shaped. Left side of harp has the figure of a siren her wings join to the right side of the harp which is a bar? adorned with raised decor. Bottom is a scroll with the lettering- Qius Separabit.Royal Crown Harp -Siren on left, wings joining to the right side with raised decor Scroll has - Quis Serarabithat, ww1, collection, royal, badge, a j, roddy, irish, rifles, pte2, james, ulster

CLUNES MUSEUM DURING RESTORATION. VERANDAH ROOF AND DECOR REMOVED.WILLIAM BARKELL MEMORIAL ARTS & HISTORIC CENTRE, 36 FRASER STREET,CLUNESlocal history, photography, photographs, museum, clunes

Paper Mache Rectangular Buckle Green and Orange Floral Decor in each of 4 corners. Tortoise Shell background.charlton, clothing, personal hygiene

Postcard with black and white photograph of reception area at Town House Motel Wagga Wagga. decor by Dr Enrico Taglietti.Postcard (not written on), black and white photo.

Blue book with Art Nouveau floral decor by Charles Nordhoff (1830-1901) found in the mission's library in 2018. Published by W.P. Nimmo, Hay and Mitchell, Edinburgh. The National Library of Australia has an holding mentioning 1876fictioncharles nordhoff (1830-1901), travel, seafaring, adventure, sailors' home

These Readers are reprints of the readers used in Victorian Schools - one for each grade - first published by the Victorian Education Department between 1928 and 1930. Second editions of all but the First book, with a few changes in content, occurred about 10 years later. From the 1950s, new Departmental publications gradually replaced the old books with the exception of the Fifth and Sixth Books, which survived until the late 1960s, when commercially produced reading material finally took over in schools. (Ref. Kelvin Edwards - on side of box.)The schools and people in the Kiewa Valley used and owned copies of these readers - as did their parents. Pink cardboard box with 8 reprints of the victorian readers. The back of the box is the height of the books with black logo and writing. 1. Side: 7 oval black and white pictures and black writing. 2. Side: Black writing and a white panel with black writing. Both sides slope towards the front. Front: Half the height of the books with title, black & white picture & decor. Each book has a soft cover with title and logo in black on the front and spine. Colors: (in order 1 - 8) fawn, orange, brown, green, blue,, blue, red and olive. education, literacy, reading, schools, victorian education department, students

This textile is one of many 19th century items of furniture, linen and crockery donated to Flagstaff Hill Maritime Village by, Vera and Aurelin Giles. The items are associated with Warrnambool and the Giles Family history. Items donated by the family have come to be known as the “Giles Collection”. Many items in the Lighthouse Keeper’s Cottage were donated by Vera and Aurelin Giles and mostly came from the home of Vera’s parents-in-law, Henry Giles and his wife Mary Jane (nee Freckleton) who married in 1880 and whose photos are on display in the parlour. Henry was born at Tower Hill in 1858, and was a labourer on the construction of the Warrnambool Breakwater before leaving in 1895 for around seven years to build bridges in NSW. Mary Jane was born in 1860 at Cooramook and she attended Mailor’s Flat State School and where she eventually was to become a student teacher. After which she became a governess at “Injemiara” where her grandfather, Francis Freckleton, had once owned land. Henry and Mary’s family consisted of six, some of the children were born at Mailor’s Flat and later some children at Wangoom. They lived with their parents at Wangoom and Purnim west, and this is where Henry died in 1933 and Mary Jane in 1940.The Giles family collection is of social significance at a local level, because it not only illustrates the level of material support the Warrnambool community gave to Flagstaff Hill during it’s establishment. But the Giles collection also gives us today a snapshot into what domestic life was like in early colonial times prior to Federation.Sideboard cover, white with crocheted lace on sides. (Part of the Giles Collection)Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill-maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, giles collection, linen, 19th century linen, furnishings, 19th century fashion, decor, henry giles, tower hill, cooramook, mailor’s flat, wangoom, 19th century household goods

On the 19th and 20th September 1910, the Mission organised a fundraising evening at the Masonic Hall on Collins Street. The "Tableaux vivants", called "Tennison's Dream of Fair Women" were arranged by artist Violet Teague. She arranged and painted the decors for the "tableaux vivants" in the Siddeley Mission. It's likely she also created the cover of this programme. "Mother and Lover of Men the Sea" is a verse form the poem: The Triumph of Time by Algernon Charles Swinburne While she was working, seamen from the Carnarvon Bay shipwreck were welcomed to the institute and subsequently invited to the evening. "They went through a large room, where a lady was standing on a scaffolding pointing a scene for the enter" tainment which is to take place this evening in the Masonic-hall. The lady was Miss Violet Teague, but she took her mind and her brush off the effects in marine blue sufficiently long to learn the main outlines of the story. " (Argus 19 September 1910). "During the evening the Rev W F Haire, acting chaplain to the mission announced that among those present were the shipwrecked survivors of the Carnarvon Bay, which was wrecked at King Island on Thursday last The men, who bore no traces of the hardships they endured took their places on the platform, whilst the large audience cheered itself hoarse and sang "For They Are Jolly Good relics". (Argus 20 September 1910) In 1935, Violet Teague was on the passengers on the C.B. Pedersen, one of the last windjammers. She Drew and painted during her voyage and exhibited the artworks in 1938.This rare programme is the last remaining testimony of the relationship between the Mission and famous artists of the time who provided illustrations for quotation calendars (Daryl Lyndsay, John Shirlow).12 pages programme. The cover is light blue paper with the design of the Greek ship printed in black ink.violet teague, tableaux vivants, 1910, fundraising, theatre, play, algernon charles swinburne, sponsors, advertising, carnarvon bay, shipwreck, una le souef, masonic hall, lady gibson-carmichael, willsmere certified milk and co, fry's cocoa, remington typewriter, hypol, lhlg, ladies harbour lights guild

ELTHAM HERITAGE TOUR The Society excursion on 24th May 1992 was arranged by David Bick, leader of the team carrying out the Shire's heritage study. David selected a number of sites or buildings identified in the study, some of them lesser known components of the Shire's heritage. The tour commenced at the Eltham Shire Office at 10.00 am. Travel was by private car and mini-bus with stops at about twelve locations for commentary by David.It included a short walk in Hurstbridge and lunch at Kinglake. Highlights of the tour included: - 10 am Leave from Shire Offices - 3 Important Trees - A Physical Link to Eltham's First Settlers - Toorak Mansion Gates - A Surviving Farm House - An Intact Circa 1900 Main Street - First Settlers - Gold Miners, and Timber-getters - An Early Hotel - A Pioneering Homestead - Changing Eltham Shire - 20th Century - 4 pm Afternoon Tea and Finish Tour Extract from ELTHAM CULTURAL HERITAGE TOUR (Newsletter No. 85, July 1992, by Bettina Woodburn) "Commencing with a quick walk to see the magnificent bell at the Eltham Fire Station, we then 'drove along Arthur Street. Here were examples of what constitutes the building environment of Eltham. Massed among the wattles and eucalypts were golden cypress and pines; No. 50 was an exotic 'old English' manor-house; No. 93 had bluestone gateposts, from Fenton Road Toorak (as with Montsalvat, using re-cycled building material was very much the trend); past the natural Reserve dedicated to the artist Walter Withers, a plaque on a huge boulder; and on both sides houses in the various modes - timber with wrought iron decor, brick-some more recent than others, decades of 'suburbia'."Record of the Society's history and activities and highlighting various aspects of the Heritage Study undertaken by David Bick used to create the future heritage overlay for the Shire of Eltham and later Nillumbik Shire.Roll of 35mm colour negative film, 4 stripsKodak Gold 100 5095eltham, main road, shire of eltham historical society, activities, heritage tour, cfa

Events and information concerning the 1983 Eltham Festival including advertisements On page 37 the article "Force behind the revival" is about how Alistair Knox was the instigator of the revival of the Eltham Festival in 1975 and discusses the history of four earlier festivals held in the early 1960s. Advertisers and people noted include: AAAA Display Signs, Alan Leake, Alan Marshall, Alistair Knox, Allan Leake, Ansell and Muir, Australian Film, Barry Maddock, Beverley Sheehan, Bimbi World, Brian Jeeves, Brian Wright, Briar Hill Glass centre, Briar Hill Swimming Pools Pty Ltd, Briar Hill Timber, Bryan Payne, Bush band, Cal Martin, Central Park, Country Art Store, Cr. Horsley, David Baker, David Sadedin, Dawn Mack, Diamond Valley Big Band, Diamond Valley Drapes, Diamond Valley Dutch Social Club, Diamond Valley Society, Dr Peter Reichenbach, Dr Rob Moffitt, Eastern District Bottle Company, Eccacentre, Eltham Central Cellars, Eltham Community Centre, Eltham Concert Band, Eltham Festival, Eltham High School, Eltham Jazz festival, Eltham Little Theatre, Eltham Living and Learning Centre, Eltham Newsagency & Toyworld, Eltham Orchestra, Eltham Pharmacy, Eltham Phoenix Club, Eltham Shire Council, Eltham Sports & Tennis, Eltham Wiregrass Gallery, Eltham Yamaha, Five and a Zack, Franciscus Henri, Frank Gow, Gavin Gray, George Barker, Graham Coyle, Graham Taylor, Greensborogh Hire service, I Can Jump Puddles (film), Ian Orr, Ian Walkear, International Communications Year, Janice Dadd, Jerry Clements, John Adams, John Higgins, John Murray, Kenton Shoes Eltham, Kings, Lazy Ade Monsbourgh, Leisure Footwear Pty Ltd, Lower Plenty Sports Centre, Mal Harrop, Matcham Skipper, Maurie Dann, Michael Poore, Montsalvat, MontsalvatValma Brundell, Myra Skipper, Panton Hill Hotel, Pats, Penna Guardian Chemist, Pine Canection, Purdy's Furniture, Ralph's Eltham Meat Supply, Ranger, Roller City, Ron Blyth, Ron Mack, Rotary Club of Eltham, Second Life decor Pty Ltd, Shire of Eltham Historical Society, Shire President, Skippers Marine Greensborough, Society for Growing Australian Plants, Squeaker's Mate (film), Storyville Allstars, Strings 'n Things, Style Interiors, T.J.'s Hair & Beauty Centre, The Eltham Chicken Shop, The Printing Works, The Prize (film), Thompson's Pharmacy, tim burstall, Todaro Coiffure, Tony Figgins, Tony Floyd, Travel Affair, Two Roads Boutique, Valley Door Centre, Warrandyte Hire, Warren Fordham, Wonderland Plant Nursery, Woolworths ArcadeNewsprint - 12 page newspaper insert1983, eltham festival, alistair knox

This SEC cook book was produced circa 1950s when the Kiewa Hydro Electricity Scheme and its Commission was in full swing. The Commission had constructed two settlements, Mount Beauty and Bogong Village to house construction workers and their families in a "closed" community. These "closed" communities were for SEC staff and construction workers only. Entry into these villages was restricted to "SEC pass" carrying construction staff and their families. All facilities such as retail, sporting and other community services was provided by the SEC. This created an isolated community in which limited individual choice or administrative family leeway was available. It was a typical company town (live and work for the company). The Company was in the Kiewa Valley constructing power stations for the Kiewa Hydro Electricity Scheme of Victoria. In one way the individual did not need to be concerned with living costs, educational needs for children, and recreational amenities and therefore "normal" community survival /living methods did not apply. This living, although restrictive, was quite simple. When the scheme was completed, in 1961, marking the end of company town, caused some of the employees, who had enjoyed the "controlled" township environment, a fair degree of angst in having the new 'laissez-faire" controls thrust upon them. This was magnified when both Mount Beauty and Bogong Village became meshed into the Bright Shire, vis-a-vis, local government. This cook book is a prime example of " the company is looking after you" and leave the worrying to us. This environment of a "company town", which creates the atmosphere of minimal personal responsibilities, is still present in a few remote mining towns in Australia at the beginning of the 21st Century.This book is a classical example of the psychological control in which the company had its construction workers families living in. The motto of many companies who had employees in isolated regions was "keep them happy". A happy and contented worker is a more productive worker. This was a period in time (1950s to 1970s) when social psychology was gaining recognition in the Australian workforce as well as internationally. At the end of the construction of all the power stations both the Mount Beauty settlement and the Bogong Village became more integrated into the main stream of rural Australia environment. Development of tourism in the region opened up not only interaction with a greater cross section of the ever expanding type of Australian but also the overseas based non rural culture tourist or immigrant. It allowed the intermingling of ideas in a non company controlled environment. The Mount Beauty and Bogong Village has, and even up to the 3000 Millennium, the same housing construction, as was built by the SEC. There has only been a very gradual change to modern domestic architectural home styles. This SEC cookbook has a folded cover with two staples at the spine, securing eight double sided pages. The white pages contain black print and sketches(3), and one black and white photograph (of the author). The front cover is mainly orange in colour with a gradual fading into yellow(at the top). The cover is approximately 210 g/m2 in thickness and each page is approximately 90 g/m2 thick. Front cover: top of page "SEC Cook Book of Family Favourites", in the middle a sketch, black on orange background, of a smiling mother walking from the kitchen to the dining table with a steaming rolled roast and vegetables in one hand and a gravy pot in the other. The furniture and decor relates to the 1950s. Below this sketch is printed"SEC TESTED RECIPES NO. 16" Inside cover: on top of the page is a black and white sketch of a pineapple, apple pear fish with scales, bunch of grapes with leaves a pork roll (head of pig one end and a roll ending on the other, on top of this food arrangement rests a fruit pie. Below this sketch are printed in black print the books contents.The first side of the first page is a black and white photograph Mary Dunne, the SEC Home Service supervisor who provided a signed foreword. The inside back cover has a promotional segment detailing a black and white photograph of a smiling (and happy) couple in the foreground with an electric stove in the distance. The written motto below this photograph is" to Live better -and save money they'll join the Power People. "the new tariff is(1960s) - First 75kWh --6 cents per kWh Next 435 kWh---2.3 cents per kWh Balance --1.7 cents per kWh The rate per killowatt-hour for the final block drops from 2.1 cents to 1.7 cents --a reduction of 19%.cooking recipes circa 1950s, domestic food, sec victoria cook books, recipes circa 1950s

Page 3 of Ray Pearson's Photo Album. Brown card page with two metallic look postcards (landscape format) placed on page using clear plastic photo corners. Both postcard images depict trams in Ballarat. The bottom postcard has come loose of two of it's photo corners (top and bottom on the right) and is not secure on the page. A hand written inscription is written in pencil behind the bottom photograph.Hand written inscription in pencil behind postcard at base of page: W.4. Printed text to left of image on bottom postcard: BALLARAT TRAMS / 1887 to 1971 / A series of four postcards. / NO. 3 LATER ELECTRIC TRAM SYSTEM / In 1934 the State Electricity / Commission took over the Bal- / larat trams from the Electric / Supply Company of Victoria. / During 1935-37 the whole sys- / tem was reconditioned by the / Commission. / For the Coronation of King / George VI, No. 28 was decor- / ated for the occasion. It ran / for three days – 12th, 13th / and 14th May, 1937, and was / painted red and cream. / During the Coronation cele- / brations of Queen Elizabeth II, / the trams carried two flags / mounted vertically fore and aft / on the roof. / Some huge loads were / carried during the second / World War period and owing / to man power shortages, con- / doctresses were employed / from September, 1942 to July, 1946. At one time, the total / reached 23. Printed text to back of bottom postcard: BALLARAT TRAMS / 1887 to 1971 / A series of four postcards. / In the early fifties, loading / on the trams was heavy. When / the lag in housing was over- / taken, however, breadwinners / started to leave the trams and / travel to work in cars. Increas- / ing affluence in the sixties ac- / centuated the trend. Soon the / trams were running with mount- / ing annual losses. Most of the / passengers travelling in these / times were concession holders: / students, pensioners, deserted / wives and T.P.I.'s A fine printed vertical line runs down the centre of the blank writing space to the left of the body text. Above is written: POSTCARD postcard, coronation, ray pearson, vintage trams, ballarat tramway, tram postcard, female conductors, suttons, ballarat tram

Page 4 of Ray Pearson's Photo Album. Brown card page with two metallic look postcards (landscape format) placed on page using clear plastic photo corners. Both postcard images depict trams in Ballarat. Both postcards have come loose of two of their photo corners (top and bottom on the left) and are not secure on the page.Printed text to back of postcard at top: BALLARAT TRAMS / 1887 to 1971 / A series of four postcards. / NO. 2 EARLY ELECTRIC TRAMS / Electric trams first ran in / Ballarat on 18th Aigust, 1905. / Twelve of the horse trams were / converted to electric cars by lengthening them at both ends. / Eight of the remaining horse / trams were used as trailers to / the motor cars. / The electric trams were / given a secret trial during the / previous night to the opening / date, but the drivers clanged / the gongs so much that it / brought people out of their / beds in night attire. They / formed an unofficial guard of / honour around Wendouree / Parade. / The trams were gaily decor- / ated for Opening Day. As the / line of cars came down Camp / Hill (Sturt Street) filled with / local dignitaries, the brakes on / the last car failed and it crashed / into the one in front. The win- / dows of both cars were / smashed, and the occupants / who had been sitting in state / made an undignified exit. / Seating accommodation was / from 32 to 36. Six small electric / trams were purchased from the / Sydney Tramways in 1905 and / were converted to a similar / pattern to the 12 re-built / Ballarat horse trams. In 1906 / two open summer cars with / open cross seats (popularly / called toast racks) / were intro- / duced. These trams were packed at week-ends with / families en route to picnic by / the lake. A fine printed vertical line runs down the centre of the blank writing space to the left of the body text. Above is written: POSTCARD Printed text to right of image on bottom postcard: BALLARAT TRAMS / 1887 to 1971 / A series of four postcards. / NO. 4 THE LAST DAYS OF THE TRAMS / Despite opposition from reg- / ular tram users, the decision / was taken in 1971 to replace / the trams with buses. A brief / statement issued in July by the / Transport Boar marked the / end of the eighty-four years / during which the trams were an / integral part of the life of / Ballarat: “The change-over to / buses will begin on 23rd / August when buses will replace / trams to the Gardens via / Drummond Street North and / Victoria Street services. The / change on the Gardens via / Sturt Street West and Mt. / Pleasant will take place on 6th / September, and on the Sebas- / topol-Lydiard Street North / routes on Monday, 20th Sep- / tember.” A fine printed vertical line runs down the centre of the blank writing space to the left of the body text. Above is written: POSTCARDpostcard, ballarat trams, ballarat tramways, vintage trams, tram postcard, electric trams

A fireplace was the most commonly used form of heating a dwelling, cooking, and heating water for laundry and domestic uses.Fireplace accessories were an important part of the decor of houses as well as being useful items.A curved copper pan. The handle is copper tubing with a wooden handle grip. It has 4 feet in the shape of animal paws (lion?). The handle is attached with lion faces. The paws and feet are brass and attached to the pan with screws.copper fireplace domestic kindling-holder

Title of property shows the property was owned by Emily Henty in 1894. " Charman Dene" was Alfred Herbert and Edith Blanche Holdsworth’s holiday house. The property was sold following Alfred Herbert’s death in 1929. Mrs Champion later owned the property. Charmandene Guest House was located on the beach front along Lover's Walk. It was relocated in the 1980s to Osborne Road in Cowes , where it still stands.HistoricalTwo sheets of photos of original wallpaper and a sample of coloured floral wallpaper, "crab apple"Wall paper fragments 1-4, layer 1 - cabbage rose, layer 2 - crab apple print number, layer 2- crab apple border, layer 2 - crab apple wall,charmandene cottage, guesthouses, home decor

The c1920 brick shop and side dwelling is one of just three early 20th century shop buildings left in Eltham and one of just two that have intact facades. These shops are physical links with the country village of Eltham at that time and their siting in isolated locations along the street reflects that village era. Since the 1950s Eltham's main street has changed dramatically and the intact pre 1940 buildings such as this shop are key components of the section of Main Road south of Henry Street which still has a streetscape recognisable from that earlier time. The side dwelling illustrates the common practice of that time for shopkeepers to live at their premises. In the 1990s this was an antique Shop and in 2010 “Eltham Cycles”. It is now a popular eatery – Zen Den. 35mm colour positive transparency (1 of 23) Mount - Kodak EktachromeProcess Date MAY 88Meltham, main road, antiques and old wares, cafe zen den, restaurants, second hand dealer, second life decor pty ltd, shops

35mm colour positive transparency (1 of 15) Mount - Kodak Kodachrome Cardcafe zen den, eltham, franklin street, houses, infrastructure, main road, roads, second life decor pty ltd

This patchwork cushion was handmade in 1898 by Sarah Jane Jones (nee Emerson). It is an example of needlework created in the late 19th century.The cushion is significant for is example of handmade craft and needlework used in the late 19th century for home decor.Round patchwork cushion. Handmade by Sarah Jane Jones (nee Emerson) in 1898.flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, cushion, soft furnishing, 1898, victorian, handmade, patchwork, craft, handcraft, sewing, hobby, needlework

This patchwork cushion was handmade in 1898 by Sarah Jane Jones (nee Emerson) and donated by her Great-Granddaughter. It is an example of needlework created in the late 19th century.The cushion is significant for is example of handmade craft and needlework used in the late 19th century for home decor.Round patchwork cushion with irregularly shaped patches of a variety of design and fabric. The pieces are roughly joined together with visible cross stitches. Handmade by Sarah Jane Jones (nee Emerson) in 1898.flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, cushion, soft furnishing, 1898, victorian, handmade, patchwork, craft, handcraft, sewing, hobby, needlework

This patchwork cushion was handmade in 1898 by Sarah Jane Jones (nee Emerson) and donated by her Great-Granddaughter. It is an example of needlework created in the late 19th century.The cushion is significant for is example of handmade craft and needlework used in the late 19th century for home decor.Bolster or sausage shaped patchwork cushion with irregularly shaped patches of a variety of design and fabric. A flower and stem are embroidered on one patch. The pieces are roughly joined together with visible cross stitches. Handmade by Sarah Jane Jones (nee Emerson) in 1898.flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, cushion, soft furnishing, 1898, victorian, handmade, patchwork, craft, handcraft, sewing, hobby, needlework

This patchwork cushion was handmade in 1898 by Sarah Jane Jones (nee Emerson) and donated by her Great-Granddaughter. It is an example of needlework created in the late 19th century.The cushion is significant for is example of handmade craft and needlework used in the late 19th century for home decor.Round patchwork cushion with irregularly shaped patches of a variety of design and fabric. The pieces are roughly joined together with visible cross stitches. Handmade by Sarah Jane Jones (nee Emerson) in 1898.flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, cushion, soft furnishing, 1898, victorian, handmade, patchwork, craft, handcraft, sewing, hobby, needlework

This patchwork cushion section was handmade in 1898 by Sarah Jane Jones (nee Emerson) and donated by her Great-Granddaughter. It is an example of needlework created in the late 19th century. It is believed that the note was added to the cushion at a later date and incorrectly refers to a different item.The cushion section is significant for is example of handmade craft and needlework used in the late 19th century for home decor.Patchwork; a square and a rectangular shape of p patchwork prepared for making into a cushion. Shaped patches of a variety of design and fabric. The pieces are roughly joined together with visible cross stitches. Handmade by Sarah Jane Jones (nee Emerson) in 1898.Pinned to the underside is a note on a piece of fabric.Handwriting reads "Patchwork done by my mother in 1898" flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, soft furnishing, 1898, victorian, handmade, patchwork, craft, handcraft, sewing, hobby, needlework, cushion

This unusual wall decoration was created by Anna Wilson (nee Henry), daughter of pioneer John Stephenson Henry, who arrived in Australia from Ireland with his children in 1851. Family documents confirm that Anna most probably made the diorama for her sister-in-law, who married a member of the Giles family. The diorama was later given to Vera Giles who was a family friend and possibly related to Anna’s sister-in-law by marriage. The diorama is now part of the Giles Collection. Anna married William Wilson in 1860, who had arrived in Australia from County Tarrane in about 1850, aged 19. In 1869 they moved to their new property called ‘Glenlyall’ in Cooramook, north of Grassmere, Victoria, where he lived for 49 years until his death in 1918. He left behind a family of four sons and a daughter. 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 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 family of the creator Anna Wilson nee Henry and her husband William Wilson are of significance to the early history of Victoria and the South West of Victoria in particular, being pioneer families who farmed the land, built the towns and cities and contributed to their communities. 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. Wall decoration, diorama with decorative gild frame and glass front. The 3-dimensional seascape includes sailing boats, land and sea, all made from materials such as shells, coral and seaweed. The work was made by Anna Wilson. It is part of the Giles Collection.Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, giles collection, henry giles, tower hill, cooramook, warrnambool breakwater, mailor’s flat, wangoom, 19th century household goods, 19th century decor, 19th century handcraft, handcraft, wall hanging, diorama of a seascape

2019, heidelberg theatre company inc, directed by gayle poor, 429, artspace artist - anne lucas, artspace curator - teresa schipano, arty played by henry smith, jay played by robbie nicholson, bella played by aimee sanderson, gert played by cat jardine, louis played by liam gillespie, eddie played by seth kannof, grandma played by lindy yeates, ass director catherine christensen, production coordinator maureen mcinerney, stage manager melanie belcher, ass. stage manager and rehearsal prompt bobby parish, stage assistant janine kerwood, lighting design emma fox, sound design rob wanless, set design gayle poor & owen evans, costumes wendy drowley, costumes assistant catherine christensen, props melanie belcher & maureen mcinerney, set decor mal cother, lighting operator jarrod catt, sound operators rob wanless & harry gravell, set construction: owen evans & dough mcnaughton & brett hunt & des harris & norm munks & paddy moriarty & tim scott & bib dyers & nicholas gugel & ben chapman and htc members, photographer david belton, program/poster design chris mclean, publicity jim thomson & toni tyers, box office toni tyers & june cherrey & jenni purdey & carol farr & brett hunt, front of house jenny gilbert and htc members, production review cheryl threadgold, htc 2018 awards: best performances in a main role claire benne (private lives) & claire abagia (blue stockings): best performances in a supporting role libby kaye (private lives) & juliet hayday (blue stockings), vdl awards: gold award for an actress in a minor role – venetia macken (angustias in the house of bermuda alba), 2018 bill cherrey award bob tyres

2020, heidelberg theatre company inc, directed by catherine christensen, 435, art space exhibitor david belton, arts space coordinator teresa schipano, mrs bella manningham played by claire benne, mr jack manningam played by liam gillespie, elizabeth the housekeeper played by patricia alcock, nancy the maid played by elysia janssen, rough played by chris mclean, officers played by robert peel and charles field, production coordinator joan moriarty, stage manager melanie belcher, lighting design emma fox, sound design rob wanless, set design/decor costume design props wendy drowley, special props warren lane, scenic artists gaye billing and mal cother, ass. stage manager and rehearsal prompt bobby parish, sound/light operator tasmin mackie, photographer david belton, program/poster design chris mclean, publicity jim thomson & toni tyers, box office toni tyers & june cherrey & jenni purdey & carol farr & brett hunt, front of house jenny gilbert and htc members, set construction owen evens & doug mcnaughton & paddy moriarty & brett hunt &, des harris & norm munks & tim scott & bob tyres & david belton & noel purdey & dean christenssen & htc members, production review cheryl threadgold, foh helpers alicia curry & owen evans & diane dawson, 2019 agm christmas party and awards president john gilbert treasurer bruce akers represented by jim thomson awards adjudicators jill scott & leslie hardcastle & rodney charles, 2019 best male lead actor mark yeates as jake laurents in it's a wonderful life, 2019 best female lean actor catherine christensen as beatrice in a view from the bridge', 2019 best supporting male actor jack kenny as rodolpho in a view from the bridge, 2019 best supporting female actor aimee sanderson as bella in lost in yonkers, 2019 special award for body of work liam gillespie for louis in lost in yonkers & freddie filmore and others in it's a wonderful life, 2019 victorian drama league awards htc's nominated entry lost in yonkers: nominations: best actress in a minor role cat jardine as gert, best properties melanie belcher & maureen mcinerney: best costume design wendy drowley, best production: drama, best supporting actor in a drama liam gillespie as louis & best supporting actress in a drama lindy yeates as grandma, 2019 bill cherrey award john rowe, election of committee: returning committee all elected unopposed joan moriarty & jim tomson & ryan purdey & morgan thomas-connor & melanie belcher