The paper rack is an example of early 20th-century domestic furniture.Radk; paper or newspaper rack, rectangular wedge-shaped wooden frame, painted brown, with metal loops and wire for hanging against a wall. The front is a "picket fence design".flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, rack, paper rack, handmade, magazine rack, newspaper rack, domestic furnishing, storage, reading material storage

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 vintage-era clock case has a curved top and two doors, one at the side, and the other at the top. It could have had another frame for the front with a window or fitted space for the clock mechanism. The doors may have given access for winding the clock with a key and to set the time or perhaps an alarm or chime. It is possible that the arched shape was the bottom of the clock case and not the top, in which case, there would be more space for a pendulum to swing. The wooden case would amplify the sound of the tick of the clock.The wooden clock case is connected to domestic life in the late 19th and early 20th centuries when households could afford at least one clock for their furnishings.Wooden clock case with open front and arched top, which may be the bottom of the case. It has a hinged door on the side and another door on the top with a small brass knob. This case is ready to be fitted with a clock mechanism.warrnambool, shipwreck coast, flagstaff hill, flagstaff hill maritime museum, flagstaff hill maritime village, clock case, clock case with two doors, pendulum clock case, vintage, horology, time keeping, clock maker, domestic clock, furnishing

This rail holder is one of a pair of two. The opening in the sphere holds one end of a rail and the screw holes allow the holder to be attached to a flat surface such as a wall or shelf. Pail holders can be found in homes, marine vessels, offices, hotels and many other locations. They are used with a fitted rail for hanging towels, coat hangers in cupboards and wardrobes and curtains over windows. They can also be used for the ends of handrails and shelf rails.This rail holder represents the the type of fittings used on ships in the 19th century. Similar fittings are still used today in the 21st century.Rail holder; one of two brass rail fittings. Hollow sphere on top of a pedestal that has a round base with three holes in it. The sphere has an opening on one side.flagstaff hill, warrnambool, maritime museum, maritime village, shipwreck coast, rail holder, rail fitting, brass ware, domestic item, bathroom furnishing, ball rail fitting, single outlet rail holder

Guyett & Sons Pty Ltd are a local family and business, in 2013 still operating as funeral directorsGuyett & Sons Pty Ltd complete Home Furnishers in Warrnambool Phone 438 and Port Fairy Phone 9Guyett & Sons Pty Ltd. Rectangular, mid brown card. Black printing of calendar and text with coloured scene. Two storey thatched cottage, cottage garden and distant village. 3 months 1949 and 3 months 1951calendar. token of appreciation for your patronage. furnishers, warrnambool. koroit. port fairy., guyett & sons

This patterned floor rug has the added feature of a fringe or tassel trim, and its size suits a dining table for four to six people. Originally, the rug was donated to the St Nicholas' Mission to Seamen's Church, Williamstown, by the Williamstown Lighthouse Keepers' Association, which had raised funds to furnish the church. Floor rugs were often part of Victorian furnishings. They were less expensive than wall-to-wall carpets, easier to clean and added colour and warmth. Rugs were a practical way for immigrants to bring memories from their homeland. THE MISSIONS TO SEAMEN (Brief History): - The Missions to Seamen was an Anglican charity that had served seafarers of the world since 1856 in Great Britain. Its symbol is a Flying Angel, inspired by a Bible verse. Today, there are centres in over 200 ports worldwide where seamen of all backgrounds are offered a warm welcome and provided with a wide range of facilities. In Victoria, the organisation began in Williamstown in 1857 as a Sailors’ Church, also known as ‘Bethel’ or the ‘Floating Church’ in an old hulk floating in Hobson’s Bay, Port of Melbourne. It soon became part of the Missions to Seamen, Victoria. In the year 2000, the organisation, now named Mission to Seafarers, still operated locally in Melbourne, Portland, Geelong and Hastings. The Ladies’ Harbour Lights Guild was formed in 1906 to support the Missions to Seamen in Melbourne and other centres, such as Williamstown. Two of the most significant ladies of the Guild were founder Ethel Augusta Godfrey and foundation member Alice Sibthorpe Tracy (who established a branch of the Guild in Warrnambool in 1920). The Guild continued its work until the 1960s. In 1943, a former Williamstown bank was purchased for the Missions to Seamen Club. The chapel was named St Nicholas’ Seamen’s Church and was supported by the Ladies’ Harbour Lights Guild, the Williamstown Lightkeepers’ Auxiliary and the League of Soldiers’ and Sailors’ Friends. It ceased operation in 1966. A Missions to Seamen Chapel and Recreation Room was a significant feature of ports during the late 1800s and into the 1900s. It seemed appropriate for Flagstaff Hill to include such a representation within the new Maritime Village, so the Melbourne Board of Management of Missions to Seamen Victoria gave its permission on 21st May 1979 for the entire furnishings of the Williamstown chapel to be transferred to Flagstaff Hill. The St Nicholas Seamen’s Church was officially opened on October 11, 1981, and closely resembles the Williamstown chapel.The connection of this floor rug to the Mission to Seamen and to the Ladies Lightkeepers’ Auxiliary highlights the strong community awareness of the life of people at sea, their dangers and hardships, and their need for physical, financial, spiritual and moral support. This floor rug is representative of rugs used for furnishing homes in the late 19th and early 20th centuries times.Rug: rectangular floor rug with white tassel trim on short sides, in reds and yellows. This rug is part of the St Nicholas Seamen's Church Collection. flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, floor rug, rectangular rug, domestic furnishings, floor cover, domestinc rug, floor covering, williamstown lighthouse keepers' auxiliary, flagstaff hill maritime museum and village, maritime village, religion, religious service, religious worship, worship service, st nicholas seamen’s church, williamstown, missions to seamen victoria, mission to seafarers, st nicholas missions to seamen’s church williamstown, missions to seamen, st nicholas missions to seamen’s church flagstaff hill, 139 nelson place williamstown, anglican church, ladies harbour light guild, harbor lights guild, joy club for fighters, ladies lightkeepers’ auxiliary, flying angel’s club, carpet, furnishing

During the Victorian era, the period (1837-1901) 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 hanging that enjoyed the height of its popularity during the Victorian era were of the spiritual type with an 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 "Home sweet Home “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, 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. For more information on the Giles collection see Acquisition section this document: An item that 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. The Giles family collection is of additional 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 an additional view into what domestic life was like in early colonial times prior to Federation.Wall decoration, framed handmade embroidered tapestry with the woven inscription, Frame has velvet cover. This item is part of the Giles CollectionHome Sweet Home, in gothic scriptflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, flagstaff hill maritime village, great ocean road, soft furnishing, wall decoration, home sweet home, wall hanging, handmade wall hanging, giles collection, henry giles, tower hill, cooramook, warrnambool breakwater, mailor’s flat, wangoom, 19th century handcraft, mrs vera giles

These dressmaker hem measures were widely used universally from the mid-nineteenth century both commercially and domestically. They were used to enable the dressmaker to carefully measure and height of a hemline to ensure they were even. This implement became particularly important with changing fashions which saw the rising hemlines. The measure could also be used when completing home furnishing tasks check regular and even length of curtains. The Dean Tape Measure company was started by Edward Dean in 1850. He started working with his father who was a carpenter making builder's measures and then became a "measure maker". The company was taken over by Stanley in the 1980s. The production of Dean brand tape measures ceased in 1989.These items are significant because they were widely used for domestic and commercial use from the 1850s onwards.Three measures on varying size bases. The two measures with circular bases include a pin cushion or receptacle for pins. The measure on the rectangular base has been home-made.On tape - DEAN - MADE IN ENGLANDdean tape measures, dressmaking tools, hem measurements

The Wiener Werkstätte (Viennese workshops) established by Josef Hoffman and Kolomon Moser in 1903 are today celebrated for their work in promoting the involvement of artists, designers and craftspeople in the manufacture of home furnishings; however Sigmund Járay’s firm was also an important, although today lesser-known, Viennese manufacturer of Kunstmöbel (art furniture). An Austro-Hungarian designer of Jewish descent, Sigmund Járay (1838-1908) established his Kunstmöbelfabrik (art furniture factory) in Vienna in the 1870s in partnership with his brother Sándro Járay (1845-1916), a sculptor. The firm with its team of cabinet makers, modellers, sculptors, upholsterers, painters and gilders, manufactured bespoke furnishings and decorated interiors for public and private clients, including the Imperial court. Such was the prominence of the work of this factory, that in 1899 one of the first purchases of the newly formed Austrian Museum of Applied art was a suite of furniture designed by Sigmund Járay for a married worker. In commissioning the furniture, Slawa was adopting the custom of Viennese couples to furnish their homes with bespoke furniture from the interior design firms that flourished in early 20th century in Vienna. Comparative material is held in the National Gallery of Victoria collection; a suite of furniture by Josef Hoffman commissioned by the Gallia family in 1912; and a suite of furniture by Adolf Loos commissioned by the Langer family in 1903. Ann Carew 2016The bedroom suite is aesthetically significant for the quality of its craftsmanship and design. It is a significant example of domestic interior design in Vienna during the 1930s. The bedroom suite is intact, and has been preserved in its entirety – double bed and side tables, wardrobe and linen press, stool and day bed. It has the potential to be displayed in situ in the place where it was last in use. It is of historical significance. Many Jewish families had all their possessions lost or destroyed during the war years. The story of the furniture’s journey from Austria to Australia is relevant to the study of the experience of émigré families during the Holocaust, and the importance of return of their property. It is rare, as it and the furniture in the living and dining room, are the only known examples in Australia of furniture manufactured by the firm of Sigmund Jàray. The provenance of the furniture is excellent, and is demonstrated by photographs taken in Vienna; correspondence with the donor’s sister, Rella; and the quotation from Sigmund Járay Kunstmöbelfabrik. It is in excellent condition. Ann Carew 2016Bedroom suite consisting of a double bed, two side tables, an upholstered stool and upholstered day bed, and a wardrobe and linen press. Made of Maple and Rosewood. Designed by the firm of Sigmund Jaray with Slawa Horowitz-Duldig.

Each Ward in the Melbourne District Nursing Society After-Care Hospital, at 45 Victoria Parade, Collingwood, had a Sun Room which was well lit by its many windows. This digital image is taken in one of the Sun Rooms and shows the type of hospital beds, furniture and the uniforms worn by Sisters and nurses in the 1930s.Melbourne District Nursing society opened the After-Care Home, situated at 39 Victoria Parade Collingwood in 1926 following a public appeal for funds. The name changed from 'Home' to 'Hospital' in 1934. The After-Care Home was originally established to provide nurse-managed convalescent care to poor and underprivileged people who could not look after themselves at home due to illness or on release from hospital. Opening in 1926, at a cost of £27,000, the home included maternity, children’s and adult wards as well as accommodation for Matron, twelve nurses and four domestic staff. In 1930 an ante-natal clinic was opened at the home. During 1934 the Women’s Welfare Clinic including, at the time, a very controversial Family Planning Clinic, the first of its kind in Australia, was opened to support women at risk following multiple and difficult pregnancies. Major extensions occurred in 1936. Each Ward in the After-Care Hospital at 45 Victoria Parade, Collingwood, had a Sun Room which was well lit by its many windows. Several donors gave money to furnish some of the Wards. Following Government intervention, the After-Care Hospital was separated from the Melbourne District Nursing Society in 1957. The District division of Melbourne District Nursing Society became the Melbourne District Nursing Service and moved to 452 St Kilda Road; later, in 1966, with Royal patronage this became Royal District Nursing Service (RDNS). The After-care hospital continued to operate at the same address in Collingwood until 1985 when it became the Melbourne Geriatric Centre. This digital Image shows six men patients and nursing staff in a Sun Room in the Melbourne District Nursing Society After-Care Hospital. In the left foreground is a low bedside cupboard, beside it is a man with short dark hair lying in an iron framed hospital bed with a white cover pulled up to his shoulders. A Sister, who is looking at the camera, is wearing a grey uniform with a white collar, and a white veil over her short dark hair; she is standing behind, and at the head of the bed with her right hand holding the vertical bar of the bed frame. Behind her is an open door and then a nurse wearing a long white apron over her grey long sleeved uniform; she has a white cap over her shoulder length dark hair and is looking at the camera. Both of her hands are resting on an empty cane chair. Next along is a man with a bandage wrapped around his head and over his left eye. He is wearing dark clothing and is sitting on a padded cane chair, as are the rest of the men in the room. To the rear, in front of four long windows, are another two men, one on the left has short white hair and is wearing light clothing, and to his right is a man with short dark hair and is wearing a dark dressing gown over light colour pyjamas. On his right is a large vase of flowers on a tall white stand. On the right hand side of the photograph are another two men with short dark hair and wearing dressing gowns; part of a wall with windows can be seen behind them.mdns, after- care hospital, melbourne district nursing society, rdns, royal district nursing service

The two‐door cabinet with a bench top is a simply made nineteenth century utilitarian cupboard. It is similar in style to cupboards that were built into spaces either side of fireplaces in keepers’ quarters. All have two doors simply framed around recessed central panels, which are sometimes bevelled. They are opened with a key, or by a basic knob made of metal or turned wood. Most also are made from a light‐coloured wood, which in this case is possibly Huon pine. Some are painted, others show evidence of paint which has since been removed in an effort to restore the surface, and a few retain their original wood finish. This cabinet, which has plain recessed unbevelled panels, has one internal shelf and stands on the floor without a plinth base. The bench top has basic squared edges, and a low backing with curved ends extends around one side. These features suggest the cabinet was fixed and originally built into a corner. The Cape Nelson CMP identified a similar but slightly different cabinet in one of the assistant keepers’ quarters which is shown with shelves added to the top. Other similar two‐door, benchtop cupboards that were probably built‐in include those at Cape Otway and Cape Schanck , which have since been moved out of the residences. Built‐in cabinets were standard fittings in lightkeeper quarters as illustrated by the Point Hicks Lightstation CMP, which shows a built cupboard beside a fireplace. The Cape Nelson cabinet, an original domestic furnishing provided by the Public Works Department, has first level contributory significance for its historic values and provenance to the lightstation.Two‐door cabinet with a bench top. The doors are simply framed around recessed central panels.Light coloured wood.

The chair’s turned legs and bowed, spindle back are typical characteristics of the popular ‘Douglas’ chair, which descends from the long evolutionary line of ‘Windsor’ style cottage chairs. Also known as ‘Captains’ chairs, they were made on a large scale in England, America and Australia from around the 1860s in various timbers, with seats ranging from heavy pine to cane and in later models, plywood. Australiana expert, Peter Cuffley writes that they were just as much a part of Australia’s frontier experience as they were America’s; Holtermans’ 1872 photographs of the New South Wales gold towns show Douglas chairs, and they appear in illustrations of the exploits of the Kelly gang drawn in the late 1870s. Many Australians now are more likely to associate them with public offices and governments departments’. The chairs met the need for a degree of comfort and tough resilience under rough handling on hard floors. The Cape Nelson chair is known to have been used as a visitor’s chair, presumably in the head keeper’s office. No other examples of nineteenth century style chairs survive among the reliably provenanced furnishings in the five other lightstation collections. The chair complements the lightstation’s nineteenth century office desk and small number of other nineteenth century furnishings in the wider Parks Victoria lightstation collection, the majority of which are domestic items. The Douglas chair has first level contributory significance for its historical value and relative rarity as a lightstation office furnishing.The chair has turned legs and bowed, spindle back .

'Melbourne District Nursing society opened the After-Care Home, situated at 39 Victoria Parade Collingwood in 1926 following a public appeal for funds. The name changed from 'Home' to 'Hospital' in 1934. The After-Care Home was originally established to provide nurse-managed convalescent care to poor and underprivileged people who could not look after themselves at home due to illness or on release from hospital. Opening in 1926, at a cost of £27,000, the home included maternity, children’s and adult wards as well as accommodation for Matron, twelve nurses and four domestic staff. In 1930 an ante-natal clinic was opened at the home. During 1934 the Women’s Welfare Clinic including, at the time, a very controversial Family Planning Clinic, the first of its kind in Australia, was opened to support women at risk following multiple and difficult pregnancies. Major extensions occurred in 1936. Each Ward in the After-Care Hospital at 45 Victoria Parade, Collingwood, had a Sun Room which was well lit by its many windows. Several donors gave money to furnish some of the Wards. Following Government intervention, the After-Care Hospital was separated from the Melbourne District Nursing Society in 1957. The District division of Melbourne District Nursing Society became the Melbourne District Nursing Service and moved to 452 St Kilda Road; later, in 1966, with Royal patronage this became Royal District Nursing Service (RDNS). The After-care hospital continued to operate at the same address in Collingwood until 1985 when it became the Melbourne Geriatric Centre. ' - taken from The Royal District Nursing Service. This document is part of the MDNS annual report, possibly the 50th, 1934-35. Photopcopied pages from an annual report taken in landscape position so two pages show to a sheet. Typed black print on white paper with pages divided by a solid black line down the middle. Paragraphs are separated by headings and subheadings, as well as two black and white images and a list of names divided into three columns.'Jean / Brown ' 'Hester Cutler[?]' [Handwritten in pencil on either side of the first image]australian army nursing service, australian military nurses, melbourne district nursing service, after-care hospital, c. wishart, edith lydia shaw, jean brown

The 49th annual report for the Melbourne District Nursing Society. 'Melbourne District Nursing society opened the After-Care Home, situated at 39 Victoria Parade Collingwood in 1926 following a public appeal for funds. The name changed from 'Home' to 'Hospital' in 1934. The After-Care Home was originally established to provide nurse-managed convalescent care to poor and underprivileged people who could not look after themselves at home due to illness or on release from hospital. Opening in 1926, at a cost of £27,000, the home included maternity, children’s and adult wards as well as accommodation for Matron, twelve nurses and four domestic staff. In 1930 an ante-natal clinic was opened at the home. During 1934 the Women’s Welfare Clinic including, at the time, a very controversial Family Planning Clinic, the first of its kind in Australia, was opened to support women at risk following multiple and difficult pregnancies. Major extensions occurred in 1936. Each Ward in the After-Care Hospital at 45 Victoria Parade, Collingwood, had a Sun Room which was well lit by its many windows. Several donors gave money to furnish some of the Wards. Following Government intervention, the After-Care Hospital was separated from the Melbourne District Nursing Society in 1957. The District division of Melbourne District Nursing Society became the Melbourne District Nursing Service and moved to 452 St Kilda Road; later, in 1966, with Royal patronage this became Royal District Nursing Service (RDNS). The After-care hospital continued to operate at the same address in Collingwood until 1985 when it became the Melbourne Geriatric Centre. ' - taken from The Royal District Nursing Service.Photopcopied pages from an annual report taken in landscape position so two pages show to a sheet. Typed black print on white paper with pages divided by a solid black line down the middle. Paragraphs are separated by headings and subheadings, as well as two black and white images and a list of names divided into three columns.melbourne district nursing service, after-care hospital, edith lydia shaw, nurses

This bookcase is typical of the homemade domestic furniture of the early 20th century. Its simple design encloses books on three sides, giving some protection from the environment. Its portable size makes it easy to rearrange for different furnishing configurations. The timber material allows for re-painting or staining to suit the decor of the time.The basic design of this bookcase is an example of domestic and office furniture used from the early to mid-20th century. Its classic shape makes it suitable for the home-carpenter to build for domestic use.Bookcase: a wooden bookcase with three shelf levels enclosed by a back panel, top and sides. Its size can accommodate large books. The legs are an extension of the side panels. Finished in a rosewood coloured varnish. flagstaff hill maritime museum and village, flagstaff hill, warrnambool, maritime museum, maritime village, shipwreck coast, great ocean road, bookcase, book storage, domestic furniture, library storage, book display, bookshelf, office furniture

Theodore Ballerstedt originally purchased the Fortuna site from the Crown in 1857. The firstimprovements at Fortuna were undertaken by the Ballerstedt family and consisted of a small mill and house. At the peak of the mining era (c.1860s) Fortuna was central to the deep alluvial gold mining operations of Bendigo. In 1871 Theodore Ballerstedt sold the house, mine and associated works to George Lansell 'The Quartz King'. During his time at Fortuna, Lansell owned 13 mines and directed a further 73 in Bendigo. The primary building on the site is the Fortuna Villa. With the wealth Lansell generated from gold mining he funded the continuous expansion of the Villa and surrounding grounds. The Villa is built in a number of architectural styles, namely Victorian Italianate and Victorian Free Classical, with Federation influences. The surrounding landscape featured up to seven decorative lakes in the early 1870s, including one larger lake which still remains today. The former lakes were originally used as disposal points for tailings produced in the gold processing activities at the site. Heritage investigations note that the uniqueness of Fortuna lies in the mixture of architectural styles of the Villa. The relationship between mining and domestic areas and the. close proximity of the two is considered rare to Australian domestic building of that time.Fortuna - Photos (Photo-copies) of Furnished Rooms This item contains the following 12 documents: 11217.76a Black and White photo of the Gymnasium, a man standing between the horizontal bars and another behind sitting on the exercise bench 11217.76b Black and White photo of a living room with chairs and small table 11217.76c Black and White photo of the conservatory with pot plants 11217.76d Black and White photo of a music room with piano, chairs and a coffee table 11217.76e Black and White photo of a bedroom with sofa, chair and iron framed bed 11217.76f Black and White photo of the games room complete with Billiard Table 11217.76g Black and White photo of the living room, the walls adorned with painting and photographs 11217.76h Black and White photo of the family bedroom, with a child's bed and a large four-poseter with curtains 11217.76i Black and White photo of possibly the function or ballroom 11217.76j Black and White photo of a small room or elcove for quiet conversations 11217.76k Black and White photo of the staircase and statue 11217.76l Black and White photo of the conservatorynon-fictionbendigo, fortuna, george lansell, fortuna furnishings

This 19th-century German secretaire is a refined example of the Biedermeier style, valued for its restrained elegance, high-quality craftsmanship, and practical, compartmentalised interior. Made with fine veneers, typically cherry or walnut, over a sturdy timber carcass, Biedermeier secretaires represent an important era of German domestic design that emphasised order, utility, and tasteful simplicity. Its significance to Ziebell’s Farmhouse Museum is elevated by its direct association with Christian Ziebell, who returned to Germany in 1855 after having settled in Westgarthtown and brought the secretaire back to Melbourne by ship. As a personally selected furnishing, it reflects both Christian’s continued connection to his homeland and the aspirations of a settler family building comfort, status, and familiarity in a new country. The secretaire contributes meaningfully to the interpretation of German migrant domestic life, craftsmanship, and transnational identity, offering tangible insight into what the Ziebell family valued and chose to carry across the world.