This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages. From Victorian Heritage Database citation for H0589 Rosecraddock 4-10 Craddock Avenue and 2-8 Keverell CAULFIELD NORTH https://vhd.heritagecouncil.vic.gov.au/places/35279 as at (30/10/2020) "Rosecraddock" is regionally important as a surviving large villa from the early Victorian (1850's) period, offering insight into the lifestyles of the privileged in Caulfield at that time. Its importance is enhanced through its long association with the Langdon family and, in particular, Henry Joseph Langdon, founder of H.J. Langdon and Company, China merchants. Victorian Heritage Database HO16 Rosecraddock, 2-8 Keverell Road & 4-10 Craddock Avenue Caulfield North https://vhd.heritagecouncil.vic.gov.au/places/35279 (as of 17/02/2021) A single storeyed stuccoed villa with west facing facade consisting of a parapeted and recessed central section with hipped slate roof and timber posted verandah with cast iron lace. Projecting pavilions have bayed windows and a secondary wing runs north with angled corners and prominent chimney stack. The front entrance is situated at the north end of the central section and is given emphasis by a small hip roof and false pediment to the verandah. Outbuildings include the timber stables with characteristic hay loft gablet and fretted barges to the south-east. Rear additions in brick and timber are of an early date and utilitarian in character. Also see https://vhd.heritagecouncil.vic.gov.au/places/277 for Significance Statement for the H0589 Victorian Heritage Register listing.Page 174 of Photograph Album with four photographs of Rose Craddock.Handwritten: "Rose Craddock" Rose Craddock Ave. top right] / Neg 197 Nov 1972 [under top left photo] / Neg 209 Nov 1972 [under top right photo] / Neg 196 Nov 1972 [under bottom left photo] / Neg 195 198 Nov 1972 [under bottom right photo] / 174 [bottom right]trevor hart, chimneys, porch, rose craddock, rosecraddock, ringwood, 1850's, henry joseph langdon, h.j. langdon, h.j. langdon and company, china merchants, rosecraddock place, slate roof, return verandah, decorative brackets, keverell road, caulfield north, early victorian style, protruding bay windows, cast iron work, rendered walls, entrances, mansions, craddock avenue

This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages. From Victorian Heritage Database citation for Rosecraddock https://vhd.heritagecouncil.vic.gov.au/places/35279 as at (30/10/2020) City of Glen Eira Heritage Listing HO16 "Rosecraddock" is regionally important as a surviving large villa from the early Victorian (1850's) period, offering insight into the lifestyles of the privileged in Caulfield at that time. Its importance is enhanced through its long association with the Langdon family and, in particular, Henry Joseph Langdon, founder of H.J. Langdon and Company, China merchants.There is a separate statement of significance at https://vhd.heritagecouncil.vic.gov.au/places/277 for H0589 Rosecraddock 2-8 KEVERELL ROAD and 4-10 CRADDOCK AVENUE CAULFIELD NORTH - Victorian Heritage RegisterPage 175 of Photograph Album with three photographs of Rose Craddock.Handwritten: Neg 190 Nov 1972 [under top left photo] / Neg 207 Nov 1972 [under bottom left photo] / Neg 191 Nov 1972 [under bottom right photo] / 175 [bottom left]trevor hart, chimneys, porch, rose craddock, rosecraddock, 1850's, henry joseph langdon, h.j. langdon, h.j. langdon and company, china merchants, rosecraddock place, slate roof, return verandah, decorative brackets, cast iron lacework, keverell road, caulfield north, early victorian style, mansions, protruding bay windows, cast iron work, outbuildings, craddock avenue, gardens

This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages. From Victorian Heritage Database citation for HO16 Rosecraddock 4-10 Craddock Avenue and 2-8 Keverell CAULFIELD NORTH https://vhd.heritagecouncil.vic.gov.au/places/35279 as at (30/10/2020) - the City of Glen Eira Heritage listing "Rosecraddock" is regionally important as a surviving large villa from the early Victorian (1850's) period, offering insight into the lifestyles of the privileged in Caulfield at that time. Its importance is enhanced through its long association with the Langdon family and, in particular, Henry Joseph Langdon, founder of H.J. Langdon and Company, China merchants. There is a separate statement of significance at https://vhd.heritagecouncil.vic.gov.au/places/277 for H0589 Rosecraddock 2-8 KEVERELL ROAD and 4-10 CRADDOCK AVENUE CAULFIELD NORTH - Victorian Heritage RegisterPage 176 of Photograph Album with four photographs of Rose Craddock.Handwritten: "Rose Craddock" Rose Craddock Ave. [top right] / Neg 204 Nov 1972 [under top left photo] / Neg 193 Nov 1972 [under top right photo] / Neg 208 Nov 1972 [under bottom left photo] / Neg 194 Nov 1972 [under bottom right photo] / 176 [bottom right]trevor hart, chimneys, porch, rose craddock, rosecraddock, 1850's, henry joseph langdon, h.j. langdon, h.j. langdon and company, china merchants, rosecraddock place, mansion, slate roof, return verandah, decorative brackets, cast iron lacework, keverell road, caulfield north, early victorian style, protruding bay windows, cast iron work, gardens, craddock avenue

Small photograph of a house with a man and a boy standing in the garden. The house is an Early Victorian style. House is made of bricks with sides extending higher than the roof which is iron. The front door is centre front and windows placed centrally between the door and the side walls. The veranda has six poles to hold it up and iron lace. The veranda, which has five steps up to it, has a fence at the edge and a gate. The garden has a number of bushes and shrubs. The boy is wearing a suit and is holding a hat in his hand. The man is wearing a suit with a longish jacket. The photo is mounted on white card with a blue border. Written on the back is: 492 x 6 Hall.buildings, house, homes, house, hall

Late Victorian or early Edwardian style baby bonnet.Peach coloured silk crochet baby's bonnet with silk ribbon tie.

This wedding photograph is an illustration of the intermarriage of notable Victorian (and Kew) families. The parents of the groom were the Hon. James Balfour MP., and his wife, Frances Charlotte (Henty) [the eldest daughter of James Henty] who married at Hawthorn in 1859. The Balfour lived at 'Windella' in Studley Park Road. Henry Rairey (Harry) Balfour was the youngest son of Mr & Mrs Balfour who married Katie Harrison of 'Horley' in Molesworth Street, Kew. Miss Harrison's father was the T.S. Harrison (merchant and importer, b. Banbury, Oxon, 1829, d. Melb 1901). Portrait of the wedding party in the garden of Horley in Molesworth Street, following the marriage of Elizabeth Kate (Katie) Harrison to Henry Rairey (Harry) Balfour at the Kew Presbyterian Church in 1905. The outfits worn by the women were reported in Punch, on 9 February 1905]. The bride wore a frock of ivory white satin, with bertha of duchesse lace and a yoke of ruched chiffon. The bridesmaids … wore white muslin dresses, inserted with Valenciennes, made in early Victorian style. The white straw hats were trimmed with lace and blue hydrangea, and their flowers were blue hydrangea, delphiniums and cornflowers. … The bride’s mother [right] wore a well-cut dress of black silk. The bridegroom’s mother [left] wore a gown of black silk voile, and smart black bonnet grouped with roses. L. to R. Christian Balfour, Jean Mackintosh, Mrs James Balfour (nee Henty), Bridegroom, Bride, Dr. Lewis Balfour, Genevieve Harrison, Hon. James Balfour, Henry Harvey, Marion Harrison (nee Borodin) [Married by Mr Alec Scholes at Kew Presbyterian Church] .Individuals identified in ink on reverse plus donor name and date.balfour, henty, harrison, horley, molesworth street, kew

The Holy Bible with the Commentaries of Scott and Henry 1862 Edited by Rev John Eadie Publisher: W R McPhun Date: 1862non-fictionThis specific 1862 Bible is a fascinating artifact from the height of 19th-century British industrial printing, combining massive theological authority with an effort to make large-scale Family Bibles accessible to the general public.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, book, bible, the holy bible, scott and henry

It appears that the earliest form of child's high chair is attributed to Jonathan Jacobs (1845-1919) a cabinet maker of Browningsville, Pennsylvania USA around the mid to late 19th century. However, children’s chairs from the 18th century and earlier were being used and are in many museum collections around the world that show woodworkers were adapting chair designs for younger users in Europe and America at this time.An early children's wooden high chair probably made in America around 1890-1900. Many American manufactures made this type of wooden high chair called an “Eastlake” style and many did not mark their work so it is difficult to determine the subject items exact provenance. A significant item giving a snapshot into the evolution of children's furniture and domestic life during the late Victorian era.Convertible pressed back Victorian era high chair with convertible frame, cast iron wheels, Carved picture of a child to back of seatflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, high chair, potty chair, baby furniture, kitchen furniture

This glass slide captures a scene from a male hospital ward at Mayday Hills Mental Asylum. Also known as the Beechworth Lunatic Asylum, Mayday Hills was officially opened on the twenty-fourth of October 1867 and was commissioned following lobbying from Beechworth Municipal Council concerning a need for better living conditions for individuals confined to the town's gaol. These individuals, as well as many others who were brought from surrounding institutions, exhibited behaviours that were deemed to be unfit for mainstream society. At its peak, the asylum consisted of sixty-seven buildings and housed over twelve-hundred patients and five-hundred staff. At the time of Australian Federation in 1901 - just a year after this photograph was taken - the patient population numbered six-hundred and seventy-four. The asylum was officially closed in 1996. It is listed on the Victorian Heritage Register as being architecturally significant. The extensive complex of buildings are examples of Italianate-style, which is strongly associated with asylums of the 1860s - the period in which construction of this particular asylum began. Today the asylum offers tours to visitors, including daytime history tours and night-time ghost tours. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This glass slide is socially and historically significant as it is representative of the lives of the nurses and patients at Beechworth Mayday Hills Asylum in the early twentieth century. It is also historically significant as it is representative of the changing style of treatments and attitudes towards mental illness. Thin translucent sheet of glass with a circular image printed on the front and framed in a black backing. It is held together by metal strips to secure the edges of the slide.Obverse: h /lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, mayday hills, mayday hills hospital, mayday hills asylum, beechworth lunatic asylum, beechworth mental asylum, psychiatric hostpital, beechworth, burke museum, beechworth municipal council, beechworth patients, psychiatric patients, victorian heritage register, 1900, 1900 mayday hills, italianate style, 19th century asylums, asylums victoria, male ward mayday hills

Taken in approximately 1900, this glass slide captures an image of a Mayday Hills Mental Asylum nurse. Also known as the Beechworth Lunatic Asylum, Mayday Hills was officially opened on the twenty-fourth of October 1867 and was commissioned following lobbying from Beechworth Municipal Council concerning a need for better living conditions for certain individuals confined to the town's gaol. These individuals, as well as many others who were brought from surrounding institutions, exhibited behaviours that were deemed to be unfit for mainstream society. At its peak, the asylum consisted of sixty-seven buildings and housed over twelve-hundred patients and five-hundred staff. At the time of Australian Federation in 1901 - just a year after this photograph was taken - the patient population numbered six-hundred and seventy-four. The designated site of the institution was chosen due to its scenery and altitude. It was argued that these picturesque surroundings would assist in curing the hospital's patients of their ailments. The asylum was officially closed in 1996. It is listed on the Victorian Heritage Register as being architecturally significant. The extensive complex of buildings are examples of Italianate-style, which is strongly associated with asylums of the 1860s - the period in which construction of this particular asylum began. Today the asylum offers tours to visitors: both daytime history tours and night-time ghost tours. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This glass slide is socially and historically significant as it is representative of the lives of the nurses who worked at Beechworth's Mayday Hills Asylum in the early twentieth century. Thin translucent sheet of glass with a portrait image printed on the front. It is held together by metal strips to secure the edges of the slide.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, mayday hills, mayday hills mental asylum, beechworth asylum, beechworth asylum nurses, psychiatric nurses, psychiatric care, 1900 mayday hills, victorian heritage register, italianate style, 19th century asylums, asylums victoria

Taken in approximately 1900, this glass slide captures an image of two Mayday Hills Mental Asylum nurses. Also known as the Beechworth Lunatic Asylum, Mayday Hills was officially opened on the twenty-fourth of October 1867 and was commissioned following lobbying from Beechworth Municipal Council concerning a need for better living conditions for certain individuals confined to the town's gaol. These individuals, as well as many others who were brought from surrounding institutions, exhibited behaviours that were deemed to be unfit for mainstream society. At its peak, the asylum consisted of sixty-seven buildings and housed over twelve-hundred patients and five-hundred staff. At the time of Australian Federation in 1901 - just a year after this photograph was taken - the patient population numbered six-hundred and seventy-four. The designated site of the institution was chosen due to its scenery and altitude. It was argued that these picturesque surroundings would assist in curing the hospital's patients of their ailments. The asylum was officially closed in 1996. It is listed on the Victorian Heritage Register as being architecturally significant. The extensive complex of buildings are examples of Italianate-style, which is strongly associated with asylums of the 1860s - the period in which construction of this particular asylum began. Today the asylum offers tours to visitors: both daytime history tours and night-time ghost tours. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This glass slide is socially and historically significant as it is representative of the lives of the nurses who worked at Beechworth's Mayday Hills Asylum in the early twentieth century.Thin translucent sheet of glass with a portrait image printed on the front. It is held together by metal strips to secure the edges of the slide.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, 1900 mayday hills, mayday hills, beechworth mental hospital, beechworth mental asylum, beechworth asylum nurses, psychiatric nurses, psychiatric care, victorian heritage register, italianate style, 19th century asylums, asylums victoria

The Works of Horace Author: James Lonsdale and Samuel Lee Publisher: Macmillan And Co Date: 1890 Further Information: non-fictionThe original author of this work was Quintus Horatius Flaccus, one of the leading Roman lyric poets during the time of Augustus Caesar (1st century BCE). This volume features the complete surviving works of Horace, rendered entirely into English prose. It includes his famous Odes, or lyrical poems, as well as his earlier poems on politics and social issues of the time. It also features his Satires, which offer humorous commentaries on Roman life, and his Epistles, or letters in verse, which include his highly influential work on literary criticism, the Ars Poetica (or The Art of Poetry).flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, book, pattison collection, warrnambool library, warrnambool mechanics’ institute, ralph eric pattison, corangamite regional library service, warrnambool city librarian, mechanics’ institute library, victorian library board, warrnambool books and records, warrnambool children’s library, the works of horace, samuel lee, james lonsdale, latin translated text

These cane chairs are 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 became 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 were born 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. Heywood & Wakefield Furniture Co: - The Heywood-Wakefield Company is an American furniture manufacturer established in 1897. It went on to become a major presence in the US. Its older products are considered collectibles and have been featured on television antique programs. The Heywood brothers established themselves in 1826 as furniture makers, and the Wakefield Company began in 1855 as a separate company. Both firms produced wicker and rattan furniture, and as these products became increasingly popular towards the end of the century, they became serious rivals. In 1897, the companies merged as Heywood Brothers & Wakefield Company (this name was changed to Heywood-Wakefield Company in 1921), purchasing Washburn-Heywood Chair Company in 1916, Oregon Chair Company in 1920, and Lloyd Manufacturing Company in 1921. While its wooden furniture plant in Gardner, Massachusetts, closed in 1979, a branch in Menominee, Michigan, continued to manufacture metal outdoor seats, auditorium seats, and school furniture. The Heywood-Wakefield Company Complex in Gardner was added to the National Historic Register in 1983. The South Beach Furniture Company acquired the rights to the name in 1994 and reproduces its wooden furniture. Both founding companies produced wicker and rattan furniture in the late 19th century.  The wicker styles drew on the Aesthetic Movement and Japanese influences simpler designs arose in the wake of the Arts and Crafts Movement. The merged entity stayed abreast of wicker furniture trends by hiring designers such as Paul Frankl and Donald Deskey during the 1920s. Its furniture was exhibited at the 1933 Century of Progress exhibition and the 1964 New York World's Fair. During the 1930s and 1940s, Heywood-Wakefield began producing furniture using sleek designs based on French Art Deco.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 village and museum were established. The wicker furniture is a fine example of late 19th and early 20th century lightweight domestic furniture that is today a very collectible item and quite rare and valuable.Armchair: pair of wicker armchairs, painted dark brown. The open wicker weave pattern of a traditional Asian design extends from the seat up to the armrests and completely over the backrest, plus across the front of the chair below the seat. The seat is very firmly woven and fitted into a timber frame. A reinforcing pattern of wicker work covers the top edges of the armrests and backrest in one piece and folds around to the underside, referred to as rolled serpentine arms and back. The hollow ends of the armrests are filled with a circular knob of wicker work. The back legs are also completed with decorative wicker knobs. The frames are constructed from bamboo. One chair base (3788.1) has been strengthened with metal bracing. The other chair (3788.2) has the remnants of an orange manufacturer’s tag fixed to the base. The chairs were made from 1897 to 1921 by Heywood Brothers & Wakefield Company, USA. These chairs are part of the Giles Collection.Tag, orange with black print: “MANUFA - Heywood B – GARDNE”flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, shipwreck coast, great ocean road, giles collection, giles family, henry and mary jane giles, tower hill, cooramook, warrnambool breakwater, mailor’s flat, wangoom, 19th century furniture, wicker armchairs, rolled serpentine wicker work, cane armchair, classic wicker furniture, victorian style furniture, domestic furniture late 19th century, chair, armchair, woven cane, wicker, rolled serpentine, manufa - heywood b – gardne, heywood brothers & wakefield company, usa

This item is part of the Giles Collection, dating back to the late Victorian era, from the 1880s to the early 1900s, in which Queen Victoria ruled England. The queen’s influence was felt throughout the world, including in the United States and Australia where Victorian values shaped society and style, especially in home décor. This period’s distinct style presents an eclectic mix of highly ornamented furniture, wallpaper, and knick-knacks. Particularly in terms of furniture, and the characteristic floral patterns and rich, contrasting colours, wall hangings that enjoyed the height of their popularity during the Victorian era were of the spiritual type with either embroidered or punched paper religious motto or bible quote. Mottoes were commonly hung high up on the wall or in an area of prominence, to remind the viewer of their important message, such as “He Leadeth Me” and “Honesty, Industry, and Sobriety.” Short and pithy, they embodied the ideals of Victorian society. Technological advances contributed to the boom of religious mottoes whereas before the Industrial Revolution home décor of this sort was handmade and therefore minimal, now consumers could purchase and fill their homes with all sorts of mass-produced ephemera goods similar to the subject item. Many of these mass-produced period pieces still exist today, often in their original frames, ceramic, enamelled or paper formats. Flagstaff maritime museum has many examples of mottoes on display that serve to reflect the period in which values of home, faith, and Christianity were very prominent in everyday Victorian society. The Giles Family There are many 19th century items of furniture, linen and crockery donated to Flagstaff Hill Maritime Village by Vera and Aurelin Giles. The items are associated with the Giles Family and are known as the “Giles Collection”. These items mostly came from the simple home of Vera’s parents-in-law, Henry Giles and his wife Mary Jane (nee Freckleton), whose photos are in the parlour. They married in 1880. Henry Giles was born at Tower Hill in 1858. He was a labourer on the construction of the Breakwater before leaving in 1895 to build bridges in N.S.W. for about seven years. Mary Jane was born in 1860 at Cooramook. She attended Mailor’s Flat State School where she was also a student teacher before, as a family legend has it, she became a governess at “Injemiara” where her grandfather, Francis Freckleton, once owned land. Henry and Mary’s family of six, some of whom were born at Mailor’s Flat and later children at Wangoom, lived with their parents at Wangoom and Purnim west, where Henry died in 1933 and Mary Jane in 1940.The Giles family collection has social significance at a local level, because it illustrates the level of material support the Warrnambool community gave to Flagstaff Hill when the Museum was established. This wall decoration reflects the social values and attitudes of the late Victorian era that was used to promote good Christian and moral values in many households. These items of decoration were very popular at this time and the subject item is significant as it gives a snapshot into the social norms of past generations. Printed card wall hanging with floral design. Religious text on the sign is embossed onto the card and highlighted in silver print. There is a handwritten ink inscription, and a pencil inscription, on the back. A string is attached to two holes on top of the card. Embossed"THE BLESSING / OF THE LORD/ BE UPON YOU." "PS 129.8." In pencil "H/S" In ink "To dear Granny with lots of love / from Dorothy. X X."flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, shipwreck coast, great ocean road, paper wall decoration, religious, home decoration, societal values, victorian moral values, wall hanging, wall decoration, spiritual decoration, bible verse, giles collection

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

This petticoat was one of several items donated from the estate of Susan Henry OAM nee Vedmore (1944 - 2021). It is in very good condition and appears to be from the Edwardian era - early 20th century. A petticoat is a lady's undergarment - worn under a skirt or dress. They provided warmth, modesty and shape to the dress. In the middle of the 19th century, petticoats were worn over hoops, bustles or in layers. Petticoats varied according to the style of the outside skirt or dress. Plain petticoats tended to be worn with everyday wear whilst better dresses (party dresses or silk gowns) were worn with petticoats that often had more trim and embellishments. Edwardian petticoats had less volume than Victorian era petticoats and they had a "dust ruffle" or lining under a lace flounce. The "dust ruffle" protected the lace flounce and gave the petticoat more flare at the bottom, greater freedom when walking as well as saving the flounce (which was often made of finer material) from everyday wear and tear. Tucks are another feature of Edwardian petticoats - when the lace at the bottom became worn, it could be cut off and the tucks released. This extended the life of the petticoat. This petticoat features an intricate trim of broderie anglaise. Although broderie anglaise was a lace that could be made by hand, it was very time consuming to make. St Gallen was a city in Switzerland that had become known for producing quality textiles. At the beginning of the 19th century, the first embroidery machines were developed in St Gallen. Factories used embroidery machines but people also had them in their homes. They were able to produce broderie anglaise for export. By the early 20th century, machine made lace, fabric, ribbons etc. were being sold in drapers shops all over England and Wales to women who were making clothes and furnishings for their families. It is highly likely that the lady who made this petticoat brought the lengths of broderie anglaise already made to embellish and personalise her petticoat. Susan's family (Harold and Gladys Vedmore) immigrated to Australia from Wales in 1955 and settled in Warrnambool. Susan was well known in the Warrnambool community for her work supporting children and families across the district - particular those with disabilities, or those who were homeless, unemployed or isolated. Susan was the founding trustee of the "Vedmore Foundation" - a Warrnambool philanthropic trust set up in 2010 to support a range of charitable and not-for-profit causes by providing grant assistance. In 2021, she was awarded a Medal of the Order of Australia for services to the community.This item is an example of the needlework skills of women in the late 19th century - creating pintucks and adding lace to personalise and embellish a practical item of clothing. It is also significant as an example of a practical solution to the difficulties that women of this era faced with regard to the washing of clothes and household linens.A white lawn petticoat with a 22.5 cm opening that fastens with 2 small buttons and a drawstring tie. It is decorated with two wide pintucks followed by two gathered frills (or flounces) - one decorated with three rows of narrow pintucks and a single row of broderie anglaise and the bottom frilled hem finished with 3 rows of broderie anglaise in a flower design. The two bottom frills are lined with plain white cotton fabric.flagstaff hill maritime museum and village, great ocean road, petticoat, lady's petticoat, undergarment, lady's undergarment, lingerie, edwardian petticoat, broderie anglaise, lace, machine made lace, hand sewn, machine sewn, draper's shop, susan henry oam, vedmore foundation

Valentine Vox Author: Henry Cockton Publisher: George Routledge & Co Date: 1854 Further Information: The Life and Adventures of Valentine Fox. The Ventriloquist fictionThe Life and Adventures of Valentine Vox, the Ventriloquist was first published in monthly parts between 1839 and 1840, and is a satirical, lighthearted Victorian novel. The story follows a young man named Valentine Vox who discovers he has an extraordinary talent for ventriloquism. Instead of using his gift for simple entertainment, he acts as a chaotic prankster, throwing his voice in public places to stir up trouble, expose hypocrisy, and drive unsuspecting citizens to near-madness. He makes everyday items appear to speak, creates invisible crowds, and wreaks havoc in taverns, political meetings, and crowded streets. Beneath the slapstick comedy, the novel serves a serious social purpose. Valentine’s antics eventually lead him to expose the horrific conditions and corrupt practices of private lunatic asylums in Victorian England, where sane people were sometimes locked away by greedy relatives. The book actually contributed to real-world public outcry and subsequent legal reforms surrounding mental health facilities.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, book, pattison collection, warrnambool library, warrnambool mechanics’ institute, ralph eric pattison, corangamite regional library service, warrnambool city librarian, mechanics’ institute library, victorian library board, warrnambool books and records, warrnambool children’s library, valentine vox, henry cockton

Hard cover book,The Holy Bible. Editor. Dr. Benjamin Blayney of Hertford College, Oxford. Publisher: Oxford University Press, Oxford. Date: 1871 Further Information: Black heaverly embossed pattered hardcover with a brown spine and lettering in gilt. The spine has a Library label with an inscription.non-fictionThis specific 1871 Bible is a fascinating artifact from the height of 19th-century British industrial printing, combining massive theological authority with an effort to make large-scale family Bibles accessible to the general public. This specific edition represents a collaboration between two powerhouse institutions of 19th-century publishing. As one of the privileged "Royal Patent" holders in England, Oxford University Press (OUP) had the legal monopoly—alongside Cambridge University Press and the King's/Queen's Printer—to print the authorised King James Version of the Bible. Founded in 1804, the British and Foreign Bible Society (BFBS) was a massive charitable organisation dedicated to making Bibles affordable and accessible worldwide. Because they were a society and not a printer, they commissioned official presses like OUP to mass-produce Bibles according to strict guidelines.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, book, pattison collection, warrnambool library, warrnambool mechanics’ institute, ralph eric pattison, corangamite regional library service, warrnambool city librarian, mechanics’ institute library, victorian library board, warrnambool books and records, warrnambool children’s library, the holy bible containing the old and new testaments 1871, dr benjamin blayney

This set of glossy black and white photographs is a set of images of Glenample Homestead circa late 1960s to early 1970s. They were taken by John Chance and are part of the John Chance Collection. The Colonial Georgian style Glenample Homestead was built from 1866 to 1869 from locally quarried sandstone. In is built on the top of a hill amongst trees. There are paddocks below and around the building. The building is basically a rectangular shape with a recessed room on the right side of the front. The pitched roof is covered in corrugated iron. The veranda, added in 1886, also has a corrugated iron room and is supported by square posts with decorative tops. It shelters three sides of the building. The edge of the veranda is decorated with scalloped shapes along the front and left side of the building. On the right is a brick wall incorporating a chimney. Another chimney on the left is contained within the building. The four-panelled outside doors are visible in some of the photos, as are the 12-paned glass windows, which are framed in contrasting stone. The veranda is trimmed with scalloped metal work on two sides and had some enclosed corners. There appears to be a cubical water tank on the roof line. Out-buildings include a toilet built against the house's brick wall. Another building appears to have two rooms with outside doors, perhaps for workers. There is the remains of a two-wheeled cart under a shelter. GLENAMPLE & the LOCH ARD Glenample Homestead became famous after the disastrous wreck of the sailing ship Loch Ard on June 1, 1878. The owners, Hugh Hamilton Gibson and Peter McArthur, were involved in the rescue and recovery of the only two survivors, as well as overseeing the salvage of items from the shipwreck and the burial of those who lost their lives. Glenample Homestead is on the Great Ocean Road at Princetown. Originally the land was part of Kennan’s Station lease, one of the district’s early settlements, circa 1847. James Murray bought Kerman’s land in 1856-57, combined it with nearby land, and named it Glenample Homestead. The ruins of huts Murray built on the property were still there until recently. Glenample was sold in 1866 to the partnership of Gibson and McArthur, who built a Georgian style house there using local sandstone, completing it by 1869. On 1st June 1878 the Loch Ard was wrecked at what is now called Loch Ard Gorge. Apprentice crewman Tom Pearce and eighteen year old passenger Eva Carmichael were the only survivors. Pearce had brought Eva ashore and sheltered her in a cave, reviving her with whiskey found amongst items washed up from the wreck. He climbed the cliffs and came across two riders from Glenample. No other survivors were found and sadly, Eva’s family members were amongst those who drowned. Hugh and Lavinia Gibson cared for Pearce and Eva at Glenample and extended their hospitality to Eva, who stayed on for about six weeks as she recovered from the ordeal physically and emotionally. Mrs Gibson introduced Eva to Jane Shields and the young ladies became lifelong friends. Years after Eva had returned to England, Jane’s daughter visited her. Eva handed her a blue china tea set to pass onto her mother as a gift. A descendant of Jane’s donated part of the tea set to Flagstaff Hill Maritime Village while another descendant donated her inherited share of the tea set to the Warrnambool and District Historical Society. In 1886 Glenample Homestead was updated to include a veranda on three sides. In 1887 Gibson sold his share to partner Peter McArthur. McArthur’s son Ernest inherited the property in 1897. Ernest established the Glenample Cheese Factory in around 1911. It was closed due to the World War and reopened in 1929 by McArthur’s sons, Robert and Colin, when they took control. In 1945 they sold Glenample and several owners followed but it was left unoccupied and became dilapidated. It was during this time that John Chance visited the property and photographed the buildings. In the 1980s the National Parks Service acquired the Glenample Homestead and began a restoration program. Work began in 1989 by Cathedral Stone, which was established in 1989 by James Charlwood, a specialist stonemason and son of maritime author Don Charlwood. This set of photographs are significant as a record of Glenample Homestead as it was from around the late 1860s to the late 1960s. The photographs are also significant as they were taken by John Chance, a diver from the wreck of the Loch Ard in the 1960s-70s. Items that come from several wrecks along Victoria's coast have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value. The photographs are significant as a link between Glenample, the vessel Loch Ard, and the only survivors of the Loch Ard. Glenample Homestead is of historical, social and architectural significance to the State of Victoria and is listed on the Victorian Heritage Register (VHR H0392). It is a historical example of early settlement and development of a run in the coastal land of South West Victoria, and it is constructed from locally quarried sandstone but doesn’t take away from its Georgian design. Glenample Homestead is of State significance through its unique connection with the wreck of the ship Loch Ard and the connection to its owners, Hugh and Lavinia Gibson and Peter McArthur, played a historically and socially significant role in the rescue and care of the survivors, the salvage of goods and the burial of those who lost their lives. The shipwreck of the Loch Ard itself is of significance for Victoria and is registered on the Victorian Heritage Register (S417). The set of ten rectangular black and white photographs of the Glenample Homestead, taken in the late 1960s or early 1970s, give san overview of the Glenample property. The views include the front, back and one side of the building, three outbuildings, and the situation of the homestead on the property. The details on the photographs show the materials used and the Colonial Georgian style. The photographs are also a record of the deterioration of the property over the years it was unoccupied.flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, kennans station, glenample homestead, georgian homestead, loch ard, princetown, victoria, james murray, hugh hamilton gibson, lavinia gibson, jane shields, eva carmichael, tom pearce, blue china tea set, peter mcarthur, ernest mcarthur, robert mcarthur, colin mcarthur, glenample cheese factory, cathedral stone, don charlwood, james charlwood, antique door key, glenample photographs, john chance, victorian heritage database 392

The bodice is of a style from the Victorian Era and so provides a good example of women's clothing from that time. Although it appears to have been made at a later time the lace possibly came from an earlier time period. It is of historic interest as it was amongst the belongings of the donor's Great Aunts who were both dressmakers at the original Terang & District Co-Op which was established in 1908.The item is of significance socially as an example of women's clothing in the Victorian era.A short, waist-length bodice most likely made as a performance costume. It is representative of a Victorian bodice style though the lacing used indicates that it would not have been worn in those times due to its revealing design. Flexible metal stays provide shape to the bodice at the front and back. Sleeves are elbow length and lined with cream fabric. The bodice has a lace collar and the sleeves are trimmed with the same lace. Small gold coloured beads are stitched to the flower centres of the lace pattern. The burgundy coloured satin has an embossed floral pattern. The lace is of interest as it is from an older time period and being beaded would be especially sought after. Machine and hand stitched.flagstaff hill, warrnambool, maritime village, maritime museum, flagstaff hill maritime museum & village, shipwreck coast, great ocean road, satin bodice, beaded lace, victorian era, metal stays, terang & district co-op

This spiky, pointy metal flower holder, often called a flower frog or kenzan, was made around the late 19th to the early 20th centuries by Stayput Products of Melbourne, Australia. The flat metal base has been made in layers with the head of the spikes between the layers. It is likely to be handmade. Heavy flower holders made of non-corrosive metals are designed to sit in the base of a vase, dish, bowl or other suitable holder so that cut flower stems can be pushed into the spikes and held firmly in the arrangement. Flower frogs can be made of glass, ceramics or, more recently, synthetic materials.The flower holder is an example of Victorian era domestic decoration aids that have carried through to the 21st century.Flower holder, rectangular block made from layers of metal, with spikes embedded into the metal. The block is heavy, likely to be lead, and the spikes are strong brass pints arranged evenly in rows. There are remnants of florist's putty between some spikes. An inscription within concentric oval rings is moulded in the flat base. Made by Stayput Products, Melbourne, Australia.Stamped into the metal: "STAYPUT / PRODUCTS / MELB. AUST."flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, flower frog, flower arrangements, flower holder, pin-holder, stayput, flower aid, ikebana flower arrangement, kenzan, moribana style, flower support, melbourne manufacturer, spiky pin frog, metal flower holder, stayput products, flower block, flower arranger, vintage, antique, late 19th to early 20th centuries, vase accessory, decorative item, floral arrangement support, florist accessory, floral art, needle aids, victorian era

The Codd Bottle was first invented by English manufacturer, Hiram Codd at Barnsley in 1870. The groove inside the top of the bottle held a rubber ring. A small glass balll was held against this ring by the pressure of the 'pop' or 'fizzy' carbonated drink inside the bottle. This style of bottle was widely manufactured and used in the production of mineral waters and lemonade. The glass has a slight green tint, known as aqua glass, and is what the Victorian era produced as 'clear glass'This glass Codd bottle with glass ball and partial rubber ring was probably imported from England by Bennetts Pty. Ltd of Richmond, Victoria for their Lemonade and sold as refreshment to early settlers of Moorabbin Shire c1880A slightly green tinted, glass bottle with a groove inside the top which held a rubber ring, against which, the small glass ball inside the bottle was held by the pressure of the 'fizzy' drink inside.BENNETTS / LEMONADE diagonally across bottlecodd hiram, glass manufacture, glass bottles, moorabbin, brighton, barnsley england, carbonated water, soft drink, mineral water, bennetts lemonade maker, richmond, early settlers, market gardeners, melbourne

Although the Railway line had been planned for some time Sir Thomas Bent MP was responsible for making it happen in order to revitalize the fortunes of the Moorabbin Shire that he had represented for so long. The train line opened in 1881with 8 Stations between Caulfield and Mordialloc.The first Steam engine carried dignitaries and local residents. Bent also ensured that the Station houses in his constituency were built in a distinctive decorative cottage style. Bent faced severe criticism for diverting the rail line through his local area and for the expenditure on the Stations. Local residents established and cared for Gardens at the Stations and Cheltenham was awarded Best Garden c1910. The arrival of the Railway Line saw the traders move from Point Nepean Rd to Charman Rd and by 1910 various shops and business were present. 2016 - current has seen large protest rallies against the destruction of Mentone Station and Cheltenham Station as the Victorian State Government proceeds to remove Railway Level Crossings. A compromise to retain the Station buildings whilst placing the Rail Line underground is desired.Cheltenham Railway Station is one of the original cottage style stations ordered by Sir Thomas Bent when the rail line was extended from Caulfield to Mordialloc 1881Photograph Black & White Postcard showing the entrance to Cheltenham Railway Station c1920Valentine &Sons Pub Co Ltd Melb railways, cheltenham station, mentone station, south brighton station, railway level crossing removal 2016 -19, smith j l; smith mary ann, stanley helen, smith vic, smith harry redvers, chaff cutter, horse drawn carts, toll gates brighton, motor cars 1900, steam engines, early settlers, bentleigh, parish of moorabbin, city of moorabbin, county of bourke, moorabbin roads board, shire of moorabbin, henry dendy's special survey 1841, were j.b.; bent thomas, o'shannassy john, king richard, charman s, highett william, ormond francis, maynard dennis, market gardeners, vineyards, orchards

Promoting the 1934 centennary celebrations, Portland, 1934.Colour lithographic print showing a man and a woman in stylised mid-nineteenth century dress, portrayed in an early 20th century style, overlooking Portland Harbour. Text states "Visit Portland/ The first Victorian Settlement/ during the Centenary Celebrations/ from 15th to 23rd November 1934. Framed under non-reflective glass in brown and gold wooden frame.Front: (no inscriptions) Back: (no inscriptions)lithograph, centenary, 1934, portland, portland bay

This photograph shows the pile drivers at work in the construction of the viaduct across the Snowy River flats. The Snowy River Floodplain Railway Bridges, two sequential and exceptionally long and low timber railway bridges on the Snowy River floodplain just west of Orbost, were built in 1916, and provided the original terminus point for the Bairnsdale-Orbost railway. The bridges are 770 metres and 183 metres long respectively. The shorter bridge is of uniformly 4.57 metre timber-beam construction, and has a sweeping curve in its deck. The longer bridge has a combination of 4.57 metre and 6.1 metrespans, and two 3.66 metre spans. The bridges are constructed from 'Southern Mahogany', Eucalyptus Botryoides, which grew along the coast east of Bairnsdale. The Snowy floodplain bridges were initially built in the context of an early twentieth-century interest in American-style 'Developmental Railways', designed to open remote areas to closer settlement, even if that meant running at a loss. The line was closed in August 1987. (information from Victorian Heritage Database)This item is associated with the history of the Orbost-Bairnsdale railway line and therefore reflects the role that the rail line played in the social and economic history of Orbost.A black / white photograph of the farming flats at Orbost during the construction of the East Gippsland railway.orbost-railway east-gippsland-railway viaduct-orbost transport railway

From Victorian Heritage: The single storey mansion house with enclosed glass verandah, Burswood was built in 1853 on a site overlooking the Portland Bay for English born pioneer colonist Edward Henty. John Barrow of Adelaide was the architect for this exceptional Australian regency style residence which he designed as a central block of fine axed basalt ashlar and slate roof (now replaced) with flanking brick wings forming an enclosed rear courtyard. Burswood is the most important early mansion house in western Victoria, being an exceptional Australian regency design by distinguished colonial architect James Barrow. Edward Henty, a member of one of Australia's most remarkable colonial families and the founder of Portland, established the first permanent settlement in Victoria on 19th November 1834, and Burswood is testimony to his success as an early colonist. Henty lived in his mansion for 17 years in a semi-regal state. Burswood has been little altered since completion in 1853. A glasshouse conservatory to the side of the present enclosed verandah was demolished prior to 1895 and the slate roof replaced with iron. Johnstone, O’Shannessy & Co was a leading photographic studio located in Melbourne, Victoria, Australia. It was active from 1865 to 1905. Henry James Johnstone was also an artist and studied at Louis Buvelot's school and with Thomas Clark.Painting of a sandstone coloured building. A grand house with a driveway and well-kept gardens to the front. There is a horse and cart with a man standing to the side of it. There is a female figure exiting the building and another female and a man further along the driveway with a dog. The building has a glass conservatory attached to the side. The sky is blue with several fluffy clouds.Bottom right: Johnstone O'Shannessy & Co Melbourne (in white paint)homestead, henty, historic buildings, colonial, burswood house

This item is from the ‘Pattison Collection’, a collection of books and records that was originally owned by the Warrnambool Mechanics’ Institute, which was founded in Warrnambool in 1853. By 1886 the Warrnambool Mechanics’ Institute (WMI) had grown to have a Library, Museum and Fine Arts Gallery, with a collection of “… choice productions of art, and valuable specimens in almost every branch and many wonderful national curiosities are now to be seen there, including historic relics of the town and district.” It later included a School of Design. Although it was very well patronised, the lack of financial support led the WMI in 1911 to ask the City Council to take it over. In 1935 Ralph Pattison was appointed as City Librarian to establish and organise the Warrnambool Library as it was then called. When the WMI building was pulled down in 1963 a new civic building was erected on the site and the new Warrnambool Library, on behalf of the City Council, took over all the holdings of the WMI. At this time some of the items were separated and identified as the ‘Pattison Collection’, named after Ralph Pattison. Eventually the components of the WMI were distributed from the Warrnambool Library to various places, including the Art Gallery, Historical Society and Flagstaff Hill. Later some were even distributed to other regional branches of Corangamite Regional Library and passed to and fro. It is difficult now to trace just where all of the items have ended up. The books at Flagstaff Hill Maritime Village generally display stamps and markings from Pattison as well as a variety of other institutions including the Mechanics’ Institute itself. RALPH ERIC PATTISON Ralph Eric Pattison was born in Rockhampton, Queensland, in 1891. He married Maude Swan from Warrnambool in 1920 and they set up home in Warrnambool. In 1935 Pattison accepted a position as City Librarian for the Warrnambool City Council. His huge challenge was to make a functional library within two rooms of the Mechanics’ Institute. He tirelessly cleaned, cleared and sorted a disarrayed collection of old books, jars of preserved specimens and other items reserved for exhibition in the city’s museum. He developed and updated the library with a wide variety of books for all tastes, including reference books for students; a difficult task to fulfil during the years following the Depression. He converted all of the lower area of the building into a library, reference room and reading room for members and the public. The books were sorted and stored using a cataloguing and card index system that he had developed himself. He also prepared the upper floor of the building and established the Art Gallery and later the Museum, a place to exhibit the many old relics that had been stored for years for this purpose. One of the treasures he found was a beautiful ancient clock, which he repaired, restored and enjoyed using in his office during the years of his service there. Ralph Pattison was described as “a meticulous gentleman whose punctuality, floorless courtesy and distinctive neat dress were hallmarks of his character, and ‘his’ clock controlled his daily routine, and his opening and closing of the library’s large heavy doors to the minute.” Pattison took leave during 1942 to 1945 to serve in the Royal Australian Navy, Volunteer Reserve as Lieutenant. A few years later he converted one of the Museum’s rooms into a Children’s Library, stocking it with suitable books for the younger generation. This was an instant success. In the 1950’s he had the honour of being appointed to the Victorian Library Board and received more inspiration from the monthly conferences in Melbourne. He was sadly retired in 1959 after over 23 years of service, due to the fact that he had gone over the working age of council officers. However he continued to take a very keen interest in the continual development of the Library until his death in 1969. The Pattison Collection, along with other items at Flagstaff Hill Maritime Village, was originally part of the Warrnambool Mechanics' Institute’s collection. The Warrnambool Mechanics’ Institute Collection is primarily significant in its totality, rather than for the individual objects it contains. Its contents are highly representative of the development of Mechanics' Institute libraries across Australia, particularly Victoria. A diversity of publications and themes has been amassed, and these provide clues to our understanding of the nature of and changes in the reading habits of Victorians from the 1850s to the middle of the 20th century. The collection also highlights the Warrnambool community’s commitment to the Mechanics’ Institute, reading, literacy and learning in the regions, and proves that access to knowledge was not impeded by distance. These items help to provide a more complete picture of our community’s ideals and aspirations. The Warrnambool Mechanics Institute book collection has historical and social significance for its strong association with the Mechanics Institute movement and the important role it played in the intellectual, cultural and social development of people throughout the latter part of the nineteenth century and the early twentieth century. The collection of books is a rare example of an early lending library and its significance is enhanced by the survival of an original collection of many volumes. The Warrnambool Mechanics' Institute’s publication collection is of both local and state significance. The Styles of Ornament From Prehistoric times to the Middle of the XIXth Century Author: Alexander Speltz. Edited by Phene Spiers Publisher: BT Batsford Date: 1910Label on spine cover with typed text PAT 740 SPE Pastedown front endpaper has sticker from Warrnambool Mechanics Institute and Free Library covered by a sticker from Corangamite Regional Library Service Front loose endpaper has a stamp from Corangamite Regional Library Service warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, shipwrecked-artefact, book, pattison collection, warrnambool library, warrnambool mechanics’ institute, ralph eric pattison, corangamite regional library service, warrnambool city librarian, mechanics’ institute library, victorian library board, warrnambool books and records, warrnambool children’s library, great ocean road, the styles of ornament, alexander speltz, phene spiers

On Style and Conversation A series of essays Author: Thomas DeQuincey Publisher: Adam & Charles Black Date: 1862non-fictionThis is a volume from Thomas DeQuincey’s collected works, and the contents around “Style” and “Conversation” are essays on prose style, rhetoric, language, and communication rather than a biography in the modern sense. DeQuincey’s essay sequence is described as a continuous discussion of style and rhetoric, originally these essays on style and rhetoric first appeared serially in Blackwood’s Edinburgh Magazine in the 1840s. William Blackwood and Sons, a Scottish publishing house and printer was founded by William Blackwood in Edinburgh in 1804. He became famous both as a book publisher and as the publisher of the influential literary magazine Blackwood’s Edinburgh Magazine. shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, shipwrecked-artefact, book, pattison collection, warrnambool library, warrnambool mechanics’ institute, ralph eric pattison, corangamite regional library service, warrnambool city librarian, mechanics’ institute library, victorian library board, warrnambool books and records, on style and conversation, thomas dequincey, adam & charles black, essays

The inscription "T L" on these early 20th century ladies button-up boots lead to the maker likely to be Tony Lama, a famous USA boot manufacturer, son of Italian immigrants. The "Rome" is the style of boot. The "6" is likely to be the soot size. Tony Lama began work at age 11 years in the leather trade industry, serving an apprenticeship as a shoemaker. He joined the US Cavalry when he was 16, after lying about his age, working as a cobbler to make boots for the soldiers. His workmanship became popular, particularly for the 'Western' style of boot. TONY LAMA boots In 1911 Lama established a company in Texas, first repairing boots, then adapting his shop to manufacture boots in order to meet the many orders he was receiving. He married and he and his wife Esther brought up six children who also went on to work in the family business. The business continued to grow through WWII. Part of the business included custom boot making and Tony's eldest son Joseph presented President Truman with a pair of kangaroo skin boots. The prosperous business became a company and eventually, in 1990, was sold to Justin Industries.This pair of boots is an example of women's footwear dating around the early 20th century. Pair of ladies leather button-up boots. Two-tone style: black bottom strong leather bottom and white, soft kid leather top. Boots have a curved fly fastened by 11 white buttons with metal shanks. Boots are constructed with cork filling. Inscriptions of both boots. "6 101" "TL" " Rome" "Cork Filled"flagstaff hill, warrnambool, maritime-museum, shipwreck-coast, flagstaff hill maritime museum & village, ladies button up boots, footwear, victorian era, granny boots, tony lama, ladie's boots, ladies' fashion, women's clothing, rome, kid leather, two-tone boots, leather boots, button-up boots