The Wodonga Historical Society Haeusler Collection provides invaluable insight into life in late nineteenth and early twentieth century north east Victoria. The collection comprises manuscripts, personal artefacts used by the Haeusler family on their farm in Wodonga, and a set of glass negatives which offer a unique visual snapshot of the domestic and social lives of the Haeusler family and local Wodonga community. The Haeusler family migrated from Prussia (Germany) to South Australia in the 1840s and 1850s, before purchasing 100 acres of Crown Land made available under the Victorian Lands Act 1862 (also known as ‘Duffy’s Land Act’) in 1866 in what is now Wodonga West. The Haeusler family were one of several German families to migrate from South Australia to Wodonga in the 1860s. The Collection also depicts development of life in Wodonga through the eyes of one family, through a collection of artefacts, diaries, letters and photographs. This item is from the Hauseler Collection which documents social life of early settlers in the Wodonga community.An old wooden rocking chair, The chair was originally home manufactured from timber. The back slats have been repaired and replaced by metal slats attached at the top and base of the backrest section.early settlement wodonga, haeusler family of wodonga

Doll-size cane rocking chair. Homemade using sticks and twigs.toys, children, presents, rocking chair

Brought from Skye, Scotland, in 1850's by Malcolm McLeod, an early Orbost pioneer, and donated by his granddaughter, Margaret McLeod. The tapestry was worked by Miss Grace Cameron. This was possibly a repair job done when acquired by the donor. Grace Cameron was the daughter of John Cameron who selected the first land on the Snowy River flats. The McLeods and Camerons were early Orbost pioneers. This chair has aesthetic significance and reflects the needlework skill of Grace Cameron.Wooden rocking chair with chair cane It has a tapestry back with a floral design. Wire has been placed around the legs for support.chair rocking-chair mcleod-malcolm cameron-grace tapestry

It was owned by Wandin Sebire. It is thought that early rocking chairs were designed as a means of helping busy mothers rock their babies on their laps while keeping their hands free for other household chores such as knitting or sewing chores. They could use their legs and back to create the rocking motion instead o holding them and swaying side to side. An elaborate turned wooden framed rocking chair with spring 'rockers'. It has a brown and cream swirled patterned fabric seat and back panel as well as on the turned arm rests. This is attached with antique upholstery tacks.There is a castor on each of the four legs for manoeuvrability. It is an unusual rocking chair in that the rockers and the seat, sit on top of the wooden frame with the legs on castors below.rocking chairs, chairs, furniture

It is thought that early rocking chairs were designed as a means of helping busy mothers rock their babies on their laps while keeping their hands free for other household chores such as knitting or sewing chores. They could use their legs and back to create the rocking motion instead o holding them and swaying side to side. A dark brown wooden rocking chair with two shaped arms which have three wooden supports on each side. It has a tall lattice style wooden back support and a wooden slatted seat. It is joined together with screws.furniture, chairs, rocking chairs

Rocking chair, carved wood with rattan seat and backrest, in the windsor style.

This chair is presumed to be Ruth Richardson's chair from when she was a child. A child's rocking chair, frame of round wood and highly finished, seat and backrest of coffee coloured canvas, coiled springs are made of metal.child's-rocker spring-rocker richardson-family

Carved wooden rocking chair. Back was originally upholstered in material with flowered pattern on striped background and seat upholstered in hessian. Now re-upholstered in red/black material.furniture, domestic

Also known as 'Platform Rocker', 'Spring Rocker', and 'Dexter Rocker'. Unlike traditional rockers it does not tend to creep along the floor when used. Carved wooden rocking chair, originally covered with a red velvet on the back and brown leather criss-crossing on seat. It has now been re-upholstered in Old Gold, cotton damask brocade.furniture, domestic

The photograph depicts a rocking chair, a kerosene lamp, a bottle holder, and two epergnes.The photograph contains historical and research significance of domestic life in Beechworth. Through the depiction of the historical rocking chair, the kerosene lamp, the bottle holder and the epergnes, the picture displays some of the everyday objects that would have been found within a Beechworth house. Although kerosene lamps and bottle holders are no longer in widespread use, this photograph not only acts as historical document and depiction of both, but it also displays the evolution of everyday tools. The interpretive capacity of the photograph extends its significance as it contains the potential to reveal information regarding the domestic life of Beechworth residents. Moreover, it also has protentional to demonstrate the shifting designs of rocking chairs, kerosene lamps, bottle holders and epergnes.Black and white rectangular photograph printed on paper.Reverse: BMM A03328/ 1997.3132/ 28 1/2 ems/ E32k491/ THE OVENS AND MURRAY ADVERTISERrocking chair, chair, lamp, kerosene lamp, bottle holder, burke museum, beechworth

Wooden rocking chair with wicker base and back, rounded arms, turned front legs, all legs braced side and back. Natural wood finish. A "Grecian" style rocker.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, chair, wicker chair, rocking chair, furniture

Child’s Platform Rocking Chair (Methodist Church) stawell

Restored by George Cox, retired M.L.A. and member of founding committee of the historical society.Wooden rocking chair with wooden carved back. Material on back and seat in dark checked pattern. Rocking base.furniture, domestic

A white wicker child's rocking chair with a curved top and arms joined in one piece. There are two single curved wooden struts on either side in the middle to support the arms.rocking chairs, furniture

ORIGINAL, FAMILY PHOTOGRAPH TAKEN IN FRONT GARDEN. FAMILY UNKNOWN. OLDER LADY SITTING ON ROCKING CHAIR, SURROUNDED BY SEVEN LADIES AND OND ONE MALE PERSON. DOG BIRDCAGE AND BICYLE.local history, photography, photographs, costumes -female, male

Wedding photograph of an unknown bridal couple. The groom is wearing a dark suit and is sitting in a rocking chair, the bride standing beside him has a full length frock with a tiara head piece attached to a long veil, she is holding a very ornamental bouquet.person, family, wedding photo, bridal couple

This is understood to be a house at Pitfield which was lived in by Alan (Allan) McDonald and his wife Rosanna, née Lewis. LDHS records have this house named as "Aston Cottage", however correspondence with a McDonald descendant in 2020 suggests that the house may have been called "Afton Cottage", as the McDonald family later lived at a property at Linton which they understood was called "Afton Grove".Enlarged black and white copy of original photograph which has been mounted on white card. The photograph shows the front of a weatherboard house which has twin gables and a verandah. A woman wearing a long gown with an apron is sitting in a rocking chair on the verandah; a man who is wearing a suit and a hat is standing next to her.aston cottage, afton cottage?, alan (allan) mcdonald, rosanna (rose or rosina) mcdonald née lewis, pitfield, houses

The couple are May & David Mitchell in the front room of their holiday shack called "The Holiday Hut" - built by E.C. Mitchell of Stawell at the site of the Borough Huts. See Rec 586 for more information.The photo shows a man and a woman seated opposite a fireplace. A black kettle is sitting in fire place and a piece of wood has been placed on a fire surround. The man is sitting on what appears to be a rocking chair and the woman is sitting on a deck chair. A shelf with a fringed cloth is situated in the corner to the left of the man's head. Both people are wearing glasses and the woman is wearing slippers."Dave and May inside holdiday hut.jpg=Imag" printed on rear of photobuildings, houses

Kathryn Knitwear, founded by Robert Blake, manufactured high quality children’s knitwear in Melbourne from the 1940s – 1980s. Robert Blake began manufacturing children’s knitwear in his bedroom in Strathmore using a hand powered machine in the late 1940s. The operation moved to Ascot Vale and Essendon, before eventually establishing a factory in Moonee Ponds in the early 1950s. The business continued to expand, necessitating a move to a new factory in Broadmeadows. By 1962, the Broadmeadows factory was producing an average of 20,000 garments per month, which increased to 24,000 by 1964. Robert Blake’s Son, Brendan recalls that “The Kathryn brand was famous around Australia, anywhere children needed to keep warm and dress smartly. It also won a number of wool fashion awards”, including the 1969 Wool Awards, which was held by the Australian Wool Bureau and published in Women’s Weekly. The Kathryn range was designed for durability, comfort and care, without sacrificing style. They used patterning techniques that increase stretchiness, comfort and fit, as well as integrating decorative elements into the fabric to prevent them from being bulky, uncomfortable or tight. Making longevity of style a priority, Brendan Blake remembers that “there was one particular garment that was in the range for at least thirty years”. He also recalls “In the past, when women have found out that I was associated with Kathryn Knitwear, they would often relate to me the story of a garment they had purchased or received as a gift and, when their child had grown out of it, they would hand it on to another child. Several ladies have told me of purchasing garments for their daughters’ glory box, or saving a particular garment after their daughter had grown out of it. Brendan Blake: “At the peak of their operation they employed approximately two hundred people, mainly women and girls. A family would often seek to send their daughter to work in this company because they knew they would be looked after and safe. One lady wrote to me telling me that working at the Moonee Ponds Factory prior to getting married was the happiest time of her life.” In 1963, workers at the Kathryn factory earned £13 per week, which was 8 shillings and 8 pence higher than the minimum weekly wage for female workers in the textile manufacturing industry (£12 11s 4d). By 1970, the Kathryn Knitwear brand expanded from children’s knitwear into womenswear under the brand name ‘Lady Kathryn’, and for boys and men under ‘Robert Blake’. Continuing to diversify their distribution, they also began exporting ‘Kathryn’ garments to New Zealand, the Pacific Islands, and Japan. ‘Kathryn Knitwear’ was well-known for their early adoption of modern materials and techniques that had broad appeal to their customer base. This is shown in their early use of the acrylic fibre ‘Orlon’ in the 50s and 60s and ‘Superwash’ wool in the 1970s. Many of Kathryn Knitwear’s styles, particularly those that were long running staples of the brand, were available in both wool and Orlon to suit the consumer’s preference. Far from the humble origins of one man in his bedroom with a hand-cranked machine; at its closure in 1980, the Broadmeadows factory of ‘Kathryn’ housed more than 100 machines, including 53 sewing machines and 45 knitting machines. Robert Blake was “a passionate advocate for wool and Australian Made” throughout his whole life. A strong thread that ties through the lifespan of Robert Blake and Kathryn Knitwear is a balance between adopting new innovations without sacrificing the core values of durability, comfort, care and style that had made the brand so well known. Their legacy forms an integral part of both Australian social and manufacturing history.Advertising pamphlet for Kathryn Knitwear’s direct-to-consumer subsidiary ‘Woolknit Distributors’. Consists of four pages, printed in colour. Front cover is orange and features an image of a baby sitting up on the floor with a toy box and rocking chair behind. There are four rag dolls on the left hand side of the image; two sitting on the seat of the rocking chair, one at the base, and one in the foreground. Below the image is the woolmark logo. The internal pages are laid out as a double page spread, with the left hand side detailing instructions for ordering and a description of the offered garments, and the right hand side featuring drawings of babies wearing the garments available for purchase. The back page is a full-page advertisement for ‘Foftly’ detergent, and features a blonde woman wearing a blue jumper with matching blue eyeshadow with a blonde baby wrapped in a white blanket. The bottom of the page has a coupon for 40c off a purchase of ‘Softly’.[obverse] special offer! of KATHRYN NEW SEASONS BABYWEAR IN PURE NEW WOOL (woolmark logo) PURE NEW WOOL Free sample of “Softly” with every order! [internal] 8 EXQUISITE STYLES AT PRICES YOU CAN’T AFFORD TO MISS … ! Woolknit distributors* brings you an exciting range of new seasons pure wool baby clothes made by leading children’s wear manufacturer “Kathryn” mailed direct to you at no extra cost. - STYLED IN A DELIGHTFUL RANGE OF COLOURS… - DESIGNED EXCLUSIVELY IN WOOL FOR SAFETY, WARMTH, COMFORT AND LONG LIFE… - ALL HAND WASHABLE FOR EASY CARE… - A MONEY BACK GUARANTEE FROM WOOLKNIT DISTRIBUTORS IF YOU ARE NOT COMPLETELY SATISFIED… Just select your style number from the list below: Fill in details of colour, size and quantity required on the enclosed card. Mail it in the reply paid envelope and print your name and address clearly. Send only cheque, postal order or money order. Do not enclose stamps, coins or bank notes. [left column] 15/MJ Matinee jacket with collar in Warm white; blue; lemon; pink. Size 16” only $3.50 16/MJ Pop your little bundle into this lacy matinee jacket. Warm white; blue; lemon; pink. Size 16” only $3.30 117/CSW All winter warmth in this com- bination suit with smart ‘fair- isle’ pattern and zip front. Red/ Warm white; Empire blue/Warm white; Sky blue/Warm white. Sizes 16” and 18”. $6.50 625/3 Beautifully styled pram set, keeps baby cosy from top to toe. Jacket, cap and breech- ettes. Warm white; blue; lemon; Pink. Sizes 16” and 18” and 20”. $9.30 681/CW Delightful baby cardigan in purl knit. Warm white; blue; lemon; pink. Sizes 18”, 20” and 22”. $4.30 [right column] 629/3 Three-piece pram set, including Frock, bonnet and breechettes. Warm white; lemon; pink. Sizes 16” and 18”. $10.00 Each item available individu- ally :- 629/B – Breechettes. Warm white; lemon; pink. Sizes 16” and 18” $3.00 629/C – Bonnet. Warm white; lemon; pink. Sizes 16” and 18” $1.60 629/F – Frock, hand embroidered. Warm white; lemon; pink. Sizes 16” and 18” $5.40 721/PW Cuddly pullover in purl knit keeps out winter winds. Warm white; blue; lemon; pink. Sizes 18”, 20” and 22”. $4.30 Shawl. Exquisitely knitted, super-fine shawl. Warm white only. $9.50 SIZE CHART Baby’s age / 0-6mths / 6mths. to 1 year / 1 to 2 years / 2 to 3 years Size of garment to order / 16 / 18 / 20 / 22 *WOOLKNIT DISTRIBUTORS PTY. LTD. 30 HALL STREET, MOONEE PONDS, VICTORIA, 3039 [reverse] Softly care keeps woollens soft as new Softly is safe for all kinds of woollens From the delicate things baby wears to the heavy winter blankets you wash in your machine. Softly gently cleans and protects. Leaving them soft as new. Try Softly yourself by taking advantage of the offer below. Do it now – for your woollens’ sake.business, business history, manufacturing, knitting machine, fashion textile production, business archives, manufacturing documents, textile industry - history wool marketing, wool marketing fashion textile industry, children's knitwear, children's clothing, knitwear marketing, mail order

black and white photo: large weatherboard building with central doorway, 4 arched windows and panelled doorway to right of photo. Two males standing in doorway. Trunks, prams, rocking chairs in front of photo, also cast iron cookware. MP 99 top right hand corner. On paper enclosed with photo : ' this large weatherboard building was Charlie Button's Secondhand Furniture Store at 204 Williamson Street next to Jones Miller's Store formerly Pickles' large rolling stock works' ( BHS Inc. )organization, business, charlie button's store

Annual report of the Braille & Talking Book Library including Minutes of the AGM, Board of Director's Report, President's report and financial statements. Items also included are: a rocking chair gifted to Alice McClelland on her 60th year of involvement, retirement of Merle Griffin, 'Please Touch' exhibition at National Gallery of Victoria, creation of the Benalla Studio - funded by the Benalla Auxiliary and able to accommodate 3-4 people in a session, Margaret Ingham appointed Children's Book Specialist, renaming of existing studios to R Graeme Orr Studios (to honour former President), Library Talk commended at Public Relations Awards given by Australian Library Promotions Council, visit by children's television character 'Norm the Kangaroo' who filmed a segment of 'Shirl's Neighbourhood' around the building, thanks for Joyce Nicholson, Barrett Reid and Dr Stephen Murray-Smith as Award Selection Panel for Braille Book of the Year, need for newer building as Commercial Road premises are expensive to heat and light and all available space is occupied, book bounty scheme available for braille and audio books, Louis Braille Productions Ltd set up as a subsidary company, book reading broadcasts by ABC shows will be donated free of charge, inaugural children's catalogue of Braille books produced, resignations of Dr Simon Haskell and David Hume, appointment of Elaine Leahy and Norm Fidge, and death of Maxene Hewitt and establishment of children's book collection known as 'The Maxene Hewett Collection for Children' in her honour. There is also a photograph and staff listing as part of the annual report.1 volume of text and illustrationsbraille & talking book library, hector bathurst, maxene hewitt, alice mcclelland, alison forbes, jan smark, norm the kangaroo, nick gleeson, john poliness, andrew turk, merle griffen, gladys fanning, e.e. haynes, janene morrison, beverley jackson, dianna martin, margaret komen, penny crawford, merrie handbury, shirley robinson, sue hanson, faye donnelly, jane grimwade, jennifer spry, iris whittaker, john cockayne, martin nicol, jan odle, peter sellars, paul korsten, blanche d'alpuget, luu ngac hua, sir brian murray, warren horton, robert miller, sydney alderson

This item is one of many 19th century items donated to Flagstaff Hill Maritime Village by the Giles Family, and known as the “Giles Family Collection”. Henry Giles was born at Tower Hill, Victoria in 1858 and worked as a labourer on the Warrnambool Breakwater. His wife, Mary Jane, was born in 1860 at Cooramook and worked as a student teacher at Mailor’s Flat Secondary School. The Giles family lived at The Maam, Wangoom in the late 19th century, before moving to New South Wales in 1895, where Henry built bridges. Henry died in 1933 and Mary Jane died seven years later. Flagstaff Hill holds a number of objects associated with the Giles family, which were donated by Flagstaff Hill volunteers Vera and Aurelin Giles (Henry and Mary Jane’s daughter and granddaughter respectively). These are predominantly located in the Lighthouse Keeper’s Cottage and include: Living room • Cloths (made by Vera Giles) • Portraits of Mary and Henry Giles • 1 x dresser • Covers on dresser • 1 x bellows Baby’s room • 1 x blessing (in the baby’s room) • 1 x picture of boy and girl • 1 x rocking chair • 1 x cushion (made by V Giles) • 1 x chest (belonging to Mary Jane Giles’s mother, Jane Fleming who migrated to Australia from Ireland in 1843) • 1 x chest cover • Bed materials Bedroom • 1 x knitted bedspread and cushion cover (knitted by V Giles) • Pillow shams and covers (Mrs Catherine King) • Pillow cases (Mary Giles) • 1 x wash stand (Mary Giles) • Towels (lace knitted by Aurelin Giles) • 1 x washstand cover • 1 x white ceramic dog • Shaving items • 1 x dressing table mirror • 1 x dressing table cover (made by Aurelin Giles) • 1 x framed motto • 2 x texts • 1 x settee (sofa) • 1x wardrobe (Vera Giles donated the wardrobe in the Lighthouse Keeper’s Cottage to Flagstaff Hill. According to Aurelin Giles, it was originally owned by William Swinton junior and was later given to a friend of the Giles family.) Kitchen • Settee covers (made by V Giles) • 1 x sideboard • 1 x butter churner • 2 x pictures • 1 x white cheese dome • 1 x wash-up tray • 2 x jugs • 1 x vegetable bowl and dish • 1 x willow pattern dinner set • Glass butter and jam dishes. 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.Calico bag of assorted fabrics, trims and sewn pieces (originally donated together with sewing machine). Items include clothing, lace, tablecloth, tray cloth, collars, oversleeves, trims, jug cover, lace inserts. (part of the Giles Collection)flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, linen, fabric, dressmaking, sewing materials, 19th century sewing, 19th century fashion, giles family, 19th century hand craft, henry giles, tower hill, cooramook, warrnambool breakwater, mailor’s flat, wangoom, 19th century clothing, 19th century linen, 19th century handcraft

This item is one of many 19th century items donated to Flagstaff Hill Maritime Village by the Giles Family, and known as the “Giles Family Collection”. Henry Giles was born at Tower Hill, Victoria in 1858 and worked as a labourer on the Warrnambool Breakwater. His wife, Mary Jane, was born in 1860 at Cooramook and worked as a student teacher at Mailor’s Flat Secondary School. The Giles family lived at The Maam, Wangoom in the late 19th century, before moving to New South Wales in 1895, where Henry built bridges. Henry died in 1933 and Mary Jane died seven years later. Flagstaff Hill holds a number of objects associated with the Giles family, which were donated by Flagstaff Hill volunteers Vera and Aurelin Giles (Henry and Mary Jane’s daughter and granddaughter respectively). These are predominantly located in the Lighthouse Keeper’s Cottage and include: Living room • Cloths (made by Vera Giles) • Portraits of Mary and Henry Giles • 1 x dresser • Covers on dresser • 1 x bellows Baby’s room • 1 x blessing (in the baby’s room) • 1 x picture of boy and girl • 1 x rocking chair • 1 x cushion (made by V Giles) • 1 x chest (belonging to Mary Jane Giles’s mother, Jane Fleming who migrated to Australia from Ireland in 1843) • 1 x chest cover • Bed materials Bedroom • 1 x knitted bedspread and cushion cover (knitted by V Giles) • Pillow shams and covers (Mrs Catherine King) • Pillow cases (Mary Giles) • 1 x wash stand (Mary Giles) • Towels (lace knitted by Aurelin Giles) • 1 x washstand cover • 1 x white ceramic dog • Shaving items • 1 x dressing table mirror • 1 x dressing table cover (made by Aurelin Giles) • 1 x framed motto • 2 x texts • 1 x settee (sofa) • 1x wardrobe (Vera Giles donated the wardrobe in the Lighthouse Keeper’s Cottage to Flagstaff Hill. According to Aurelin Giles, it was originally owned by William Swinton junior and was later given to a friend of the Giles family.) Kitchen • Settee covers (made by V Giles) • 1 x sideboard • 1 x butter churner • 2 x pictures • 1 x white cheese dome • 1 x wash-up tray • 2 x jugs • 1 x vegetable bowl and dish • 1 x willow pattern dinner set • Glass butter and jam dishes. 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.Guest towel, set of 3 white damask guest towels.(Giles Collection) flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, giles family, henry giles, tower hill, cooramook, warrnambool breakwater, mailor’s flat,, wangoom, 19th century linen, 19th century handcraft, guest towel

This item is one of many 19th century items donated to Flagstaff Hill Maritime Village by the Giles Family, and known as the “Giles Family Collection”. Henry Giles was born at Tower Hill, Victoria in 1858 and worked as a labourer on the Warrnambool Breakwater. His wife, Mary Jane, was born in 1860 at Cooramook and worked as a student teacher at Mailor’s Flat Secondary School. The Giles family lived at The Maam, Wangoom in the late 19th century, before moving to New South Wales in 1895, where Henry built bridges. Henry died in 1933 and Mary Jane died seven years later. Flagstaff Hill holds a number of objects associated with the Giles family, which were donated by Flagstaff Hill volunteers Vera and Aurelin Giles (Henry and Mary Jane’s daughter and granddaughter respectively). These are predominantly located in the Lighthouse Keeper’s Cottage and include: Living room • Cloths (made by Vera Giles) • Portraits of Mary and Henry Giles • 1 x dresser • Covers on dresser • 1 x bellows Baby’s room • 1 x blessing (in the baby’s room) • 1 x picture of boy and girl • 1 x rocking chair • 1 x cushion (made by V Giles) • 1 x chest (belonging to Mary Jane Giles’s mother, Jane Fleming who migrated to Australia from Ireland in 1843) • 1 x chest cover • Bed materials Bedroom • 1 x knitted bedspread and cushion cover (knitted by V Giles) • Pillow shams and covers (Mrs Catherine King) • Pillow cases (Mary Giles) • 1 x wash stand (Mary Giles) • Towels (lace knitted by Aurelin Giles) • 1 x washstand cover • 1 x white ceramic dog • Shaving items • 1 x dressing table mirror • 1 x dressing table cover (made by Aurelin Giles) • 1 x framed motto • 2 x texts • 1 x settee (sofa) • 1x wardrobe (Vera Giles donated the wardrobe in the Lighthouse Keeper’s Cottage to Flagstaff Hill. According to Aurelin Giles, it was originally owned by William Swinton junior and was later given to a friend of the Giles family.) Kitchen • Settee covers (made by V Giles) • 1 x sideboard • 1 x butter churner • 2 x pictures • 1 x white cheese dome • 1 x wash-up tray • 2 x jugs • 1 x vegetable bowl and dish • 1 x willow pattern dinner set • Glass butter and jam dishes. 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.Tray cloth, white linen, geometric pulled thread design. (Giles Collection) Tag attached "LHK n6" flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, giles family, tower hill, cooramook, warrnambool breakwater, mailor’s flat, wangoom, 19th century linen, 19th century handcraft

This item is one of many 19th century items donated to Flagstaff Hill Maritime Village by the Giles Family, and known as the “Giles Family Collection”. Henry Giles was born at Tower Hill, Victoria in 1858 and worked as a labourer on the Warrnambool Breakwater. His wife, Mary Jane, was born in 1860 at Cooramook and worked as a student teacher at Mailor’s Flat Secondary School. The Giles family lived at The Maam, Wangoom in the late 19th century, before moving to New South Wales in 1895, where Henry built bridges. Henry died in 1933 and Mary Jane died seven years later. Flagstaff Hill holds a number of objects associated with the Giles family, which were donated by Flagstaff Hill volunteers Vera and Aurelin Giles (Henry and Mary Jane’s daughter and granddaughter respectively). These are predominantly located in the Lighthouse Keeper’s Cottage and include: Living room • Cloths (made by Vera Giles) • Portraits of Mary and Henry Giles • 1 x dresser • Covers on dresser • 1 x bellows Baby’s room • 1 x blessing (in the baby’s room) • 1 x picture of boy and girl • 1 x rocking chair • 1 x cushion (made by V Giles) • 1 x chest (belonging to Mary Jane Giles’s mother, Jane Fleming who migrated to Australia from Ireland in 1843) • 1 x chest cover • Bed materials Bedroom • 1 x knitted bedspread and cushion cover (knitted by V Giles) • Pillow shams and covers (Mrs Catherine King) • Pillow cases (Mary Giles) • 1 x wash stand (Mary Giles) • Towels (lace knitted by Aurelin Giles) • 1 x washstand cover • 1 x white ceramic dog • Shaving items • 1 x dressing table mirror • 1 x dressing table cover (made by Aurelin Giles) • 1 x framed motto • 2 x texts • 1 x settee (sofa) • 1x wardrobe (Vera Giles donated the wardrobe in the Lighthouse Keeper’s Cottage to Flagstaff Hill. According to Aurelin Giles, it was originally owned by William Swinton junior and was later given to a friend of the Giles family.) Kitchen • Settee covers (made by V Giles) • 1 x sideboard • 1 x butter churner • 2 x pictures • 1 x white cheese dome • 1 x wash-up tray • 2 x jugs • 1 x vegetable bowl and dish • 1 x willow pattern dinner set • Glass butter and jam dishes. 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. Tray cloth, white cotton with blue floral embroidery, chrchet edge. Some small tears. (Giles Collection) Tag attached "LHK N7"flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, giles family, henry giles, tower hill, cooramook, warrnambool breakwater, mailor’s flat, wangoom, 19th century linen, 19th century handcraft, tray cloth

Walter Withers once lived at the corner of Bolton and Brougham Streets, Eltham. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p105 Walter Withers, one of Australia’s most famous artists, once lived in Southernwood, the weatherboard house at the corner of Bolton and Brougham Streets, Eltham. Withers, one of the first prominent artists to live in Eltham, was known for his lyrical paintings of the Australian bush and is associated with the Heidelberg School of artists. Withers was born in 1854 at Handsworth, Warwickshire, England, the grandson of an artist. He studied art at the Royal Academy of Arts, London. But in 1882 his father, opposing an artistic career for Withers, ordered him to go to Australia. However, after working as a jackaroo on several country properties for 18 months, Withers resumed painting in Melbourne, where he enrolled in evening art classes at the Melbourne National Gallery school of painting under G F Folingsby. Employed as a draughtsman by William Inglis & Co, then by Ferguson & Mitchell, lithographic printers, Withers produced portraits in black-and-white for several periodicals. His work was exhibited in the Old Academy, Melbourne. At this time he met and became life-long friends with artists Frederick McCubbin, Tom Roberts and Louis Abrahams. In 1887 Withers went to England and married Fanny Finn. They lived in Paris for awhile, where Withers studied at the Academie Julian. After his return to Melbourne in 1889, Withers lived at the artist camp at Eaglemont, then moved close to the Charterisville mansion, where he established a studio and sub-let cottages to other artists. Around 1892 Withers opened a Collins Street studio, had his first exhibition, and started giving painting classes. One of his pupils was Norman Lindsay, also to become a prominent artist. Withers had long been attracted to Eltham, but had to wait until 1903 to live there, after the railway line was extended to Eltham in 1902. He could then commute to the painting classes he gave in Melbourne. Withers lived on the two and a half acres (1.0ha) Bolton Street property with his wife and five children. They were joined for a short time by prominent painter Sir Hans Heyson who took lessons from Withers. Withers added a studio to the Queen Anne/Edwardian style seven-bedroom home, which had been built in 1891. Each bedroom included a fireplace and most rooms had 12 foot high (3.6m) ceilings. The house retains several fine leadlight windows. Withers painted his largest canvas The Return from the Harvest in 1905, at his Eltham studio. He is represented in national, state and regional galleries, and in many private collections in Australia and abroad. In 1904-05 Withers was president of the Victorian Artists’ Society. Withers at times stayed during the week at his studio in Oxford Chambers, Melbourne, and on weekends and holidays with his family at Eltham. Withers lived in Eltham until his death in 1914, aged 60 years. He had been plagued by rheumatism and in later life by heart and lung disease. It is said he died of a stroke peacefully in a rocking chair in front of the lounge-room fire. He is buried at St Helena in the St Katherine’s Anglican Church cemetery. In 1983, the auction of the house sparked fears that it would be pulled down, or substantially altered. Fortunately the new owners decided to retain the house. Some security was given to the house’s future when it was later included in the Heritage Overlay to the Nillumbik Planning Scheme. The property is also important because it is one of only a few left in the district, which were once owned by noted artists. These include three in Warrandyte: one formerly owned by Penleigh Boyd, another by Frank Crozier, and the other by Danila Vassilieff; and two in Eltham: Percy Leason’s in Lavender Park Road and Justus Jörgensen’s Montsalvat. A small park at the corner of Bible and Arthur Streets, Eltham is named in Walter Withers’ honour.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, bolton steet, brougham steet, eltham, southernwood, walter withers house