7 x METAL COLLAR STUDSNILapparel, personal adornment

METAL HAT PIN WITH CUT GLASS DECORATION INSET ON EACH OF THE FLEUR DE LYS PATTERN AT EACH END OF THE PINNILpersonal adornment, fashion item

Juanita McLauchlan draws upon her Gamilaraay identity, history, and language to explore family connections, personal belongings, and body adornment. McLauchlan employs both printmaking and fibre-based practices to reflect her spiritual connection to Country and her cultural identity as an Aboriginal woman with English lineage. Her work considers how gathering and sharing ancestral knowledge preserves intergenerational ties, bridging past, present, and future. McLauchlan creates contact prints on blankets, capturing impressions of Wiradjuri Country in Wagga Wagga, NSW, where she currently lives and works. McLauchlan was born on her Grandmother’s Country, Gamilaraay Country, and has lived in many places across Australia before spending the last 20 years with her family in Wagga Wagga. McLauchlan says of this artwork: By compulsion to make and move my hands I combine my mixed crossed cultural heritage, using woollen blankets and possum skin to create necklaces that are soft and beautiful, begging to be worn and handled as a way to recognise and pay homage to those who have come before me. These body adornments/necklaces are the embodiment of the history that I carry on my shoulders, of who I am and finding the comfort of where I fit into this forever changing life. They are like a generational hug of confidence and warmth once they are placed over your head. Stories of my childhood come to mind when making each necklace. Guuma-li / gathering, is a time when my sister and I were staying with my grandmother, and she was called to deal with a snake next door. Even though the snake was longer than she was tall, it was no match for our grandmother. The snake is in the main necklace as an ode to our grandmother and the strengths she has passed to us. The woollen blankets have been contact printed with bush dyes and bound in red thread creating links that form an ethereal shape wrapped and held together with the possum skin.”

c.1900 filigree brooch belonged to Vera Therese Meredith nee Sebie approx. 1920 in Australia. She was the daughter of John and Christine Sebire and the grandaughter of Henry and Martha Sebire of Mont De Lancey in Wandin Victoria.A round gold decorative filigree brooch with a central large leaf in the middle of a circular shape. There is a tiny gold safety chain and safety pin attached to the brooch. c.1900.amulets, brooches, jewellery, personal adornments

This finely crafted women’s gold fob watch, made by Robert Stauffer & Fils of La Chaux-de-Fonds, Switzerland, is an elegant example of mid-19th-century Swiss watchmaking. Its engraved floral motifs, protected beneath glass and repeated on the reverse, reflect the refinement and skill associated with one of Europe’s foremost horological centers. Believed to have belonged to either Elizabeth Ziebell (née Sprenger, 1836–1892) wife of Carl Chrsitian Ziebell or Amelia Alice Ziebell (née Bodycoat 1870-1948) wife of Albert Heinrich Ziebell, the watch provides a personal link to the women of the early Ziebell family and to domestic and social life within Westgarthtown’s German settler community. Women’s watches of this era were both functional and fashionable, commonly worn on a long necklace chain, suspended from a chatelaine at the waist, or attached to a decorative bodice brooch. Such pieces served as markers of refinement, femininity and social standing. The tiny winding key is central to the object’s significance. Before stem-winding mechanisms became standard in the 1870s, watches were wound and set by inserting a small key into an arbor at the back of the case. The survival of both the watch and its original key strengthens their historical integrity and deepens understanding of 19th-century personal technology. Donated to Ziebell’s Farmhouse Museum in 2025 by Kristina Colic (née Ziebell) and her father Mervyn Turner Ziebell, the watch holds strong familial and interpretive value, enriching the museum’s representation of women’s heritage, adornment and craftsmanship within the Ziebell family. Robert Stauffer & Fils of La Chaux-de-Fonds, Switzerland