In the late 1960s, John Terry, then a young man living at Rouse Hill House, composed avant-garde music which he set to abstract projected images, and performed at various locations in Sydney.
Six generations of Rouse and Terry families occupied Rouse Hill House & Farm from its construction in the early 1800s until the late 1990s, when it opened as a museum.
A Suffolk countrywoman turned Hawkesbury midwife; twice sentenced to death and twice reprieved; transported to New South Wales in 1801 and transformed after her death into a romantic literary heroine
Our philosophy of maintaining the Rouse Hill House & Farm collection in its timeworn condition poses distinct conservation challenges.
Within a tower of yellowed receipts on a spike file at Rouse Hill House & Farm are illuminating details of the musical education of sisters Nina and Kathleen Rouse.
Autumn is the time when families like the Rouses of Rouse Hill House & Farm preserved the last of the warmer weather’s bounty to enjoy in the months to come.
Shading the face, fanning a fire into a blaze or cooling food, shooing away insects, conveying social status, even passing discreet romantic messages - the use of the fan goes far beyond the creation of a breeze.
Staff at Sydney Living Museums work tirelessly to ensure that buildings and collections are lovingly cared for, and to secure their longevity.
Objects provide fascinating insights into the daily lives of the people who lived at our museums. Recent research triggered by the conservation of a spike file from the Rouse Hill House collection has uncovered some interesting information.
Nina Beatrice Terry (1875-1968) was the eldest of the two daughters of Edwin Stephen Rouse and his wife Bessie (nee Buchanan) of Rouse Hill House.
