Sybil CRAIG (18 November 1901-09 September 1989) Born London, England Arrived Australia 1902 The National Gallery School, Melbourne, gave Craig a sound training for her popular flower and portrait studies. However, her association with leading modernists between the wars led her to pursue her art in a deliberately experimental and spontaneous way. Sybil Craig was the third woman appointed by the Australian War Memorial as an official war artist. She was the first woman to paint women working in the munitions’ factories. The Castlemaine Art Gallery & Historical Museum, held the first retrospective exhibition of Sybil Craig's in 2006. The exhibition highlighted her wonderful use of colour and design in a diverse range of media, techniques and subject matter. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Framed pencil and watercolour sketchart, artwork, sybil craig, craig, available, pencil drawing, watercolour

Sybil CRAIG (18 November 1901-09 September 1989) Born London, England Arrived Australia 1902 The National Gallery School, Melbourne, gave Craig a sound training for her popular flower and portrait studies. However, her association with leading modernists between the wars led her to pursue her art in a deliberately experimental and spontaneous way. Sybil Craig was the third woman appointed by the Australian War Memorial as an official war artist. She was the first woman to paint women working in the munitions’ factories. The Castlemaine Art Gallery & Historical Museum, held the first retrospective exhibition of Sybil Craig's in 2006. The exhibition highlighted her wonderful use of colour and design in a diverse range of media, techniques and subject matter. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Framed life drawing by Sybil Craigart, artwork, sybil craig, craig, life drawing, life model, charcoal, drawing, available

Sybil CRAIG (18 November 1901-09 September 1989) Born London, England Arrived Australia 1902 The National Gallery School, Melbourne, gave Craig a sound training for her popular flower and portrait studies. However, her association with leading modernists between the wars led her to pursue her art in a deliberately experimental and spontaneous way. Sybil Craig was the third woman appointed by the Australian War Memorial as an official war artist. She was the first woman to paint women working in the munitions’ factories. The Castlemaine Art Gallery & Historical Museum, held the first retrospective exhibition of Sybil Craig's in 2006. The exhibition highlighted her wonderful use of colour and design in a diverse range of media, techniques and subject matter. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Framed sketches of plantsSigned lower left side "Sybil Craig"art, artwork, sybil craig, craig, flora, plants, flowers, available

Bridget BODENHAM Bridget Bodenham has a Diploma of Arts (Ceramics) from the University of Ballarat (now Federation University. In 2006 she received an Emerging Artist grant from the Australia Council for the Arts and was also part of Craft’s annual graduate survey exhibition, Fresh!. She works full time making ceramic serving ware, tableware, utensils and jewellery as well as planter pots and flower vases. The majority of her work is designed to be used and enjoyed. Bridget feels a connection to her surrounding bushland landscape and interprets the tones and textures in her work. She takes great care in creating each piece by hand and firing them up to three times in her large gas kiln. Each firing is totally unique resulting in one off pieces. Bridget Bodenham was a finalist in the Bombay Sapphire Design Discovery Award (2008) for a series of ceramic mortars and pestles, and received an Honourable Mention in the Mino International Ceramic Award, Japan. Bridget aims to create a sense of curiosity and reflection in form and function. She hopes her work delights and engages the owners hands and heart into everyday activities. The Federation University Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Small, thrown ceramic vessel / jug with handle and lip. art, artwork, bridget bodenham, ceramics, alumni

David STRACHAN (1919–1970) Born 25 June 1919 at Salisbury, Wiltshire, England Arrived 1920 Adelaide, Australia: 1921 Creswick, Victoria David Strachan attended Creswick State School and Geelong Church of England Grammar school. By the age of 16 he wanted to be an artist. Accompanying his mother to London in 1936, he enrolled at the Slade School of Fine Art, where he met Godfrey Miller. In 1937 he attended the Académie de la Grande Chaumière, Paris, and painted at Cassis on the Mediterranean Sea. He returned to Australia in April 1938 and studied at the George Bell School, Melbourne. He had a growing interest in classicism blended with a fascination for the dream-state which was reinforced in his work after he moved to Sydney in 1941. There he was befriended by Jean Bellette and her husband Paul Haefliger, who were to be driving forces behind the Sydney Art Group (founded 1945). He lived on the top floor of the Haefligers' house at Double Bay, and together the three artists drew from models whom the Haefligers hired. In this period Strachan painted and exhibited some of his most poetic works—mainly figurative and landscape subjects, and still-lifes of haunting beauty. His flowers, bowls of fruit, birds, and angelic figures glimmered out of the darkness as things not of this world, evoked faintly, like mythological personages in a gently spoken narrative. He 'spent an erratic war' painting camouflage at Bankstown aerodrome with other artists, among them (Sir) William Dobell, and dancing minor roles with Hélène Kirsova's ballet company. In 1948 Strachan settled in Paris. His paintings, included by Peter Bellew in an exhibition at the Musée National d'Art Moderne, had been well-received by French critics two years earlier. In 1950 he began tentative experiments in etching. These led to the formation of the Stramur-Presse, a business venture which published etchings and lithographs of leading French and English artists. His most important project was a series of twenty-two colour etchings illustrating Alister Kershaw's book of poems, Accent & Hazard (Paris, 1951). Strachan continued to exhibit in Australia and maintained a lively social life with Australian friends. From Paris, he went for weekend painting trips with Moya Dyring in her car and, after 1957, visited the Haefligers on Majorca. He lived in London in 1955-57. His paintings became progressively less soft in effect, his palette brightened, and his forms, especially the still-lifes, became spikier. In the late 1950s his attention drifted towards the study of Hindu philosophers and Jungian psychology. For most of 1957-58 he was enrolled at the C. G. Jung-Institut, Zürich, Switzerland. In 1959 he worked in Silvio Daneo's silkworm factory at Bricherasio, Italy. In May 1960 Strachan returned to Sydney. He lived at Woolloomooloo before buying a house at Paddington in 1963. Over the ensuing years he involved himself energetically with the art scene, exhibiting, teaching (1960-65) at East Sydney Technical College, fund-raising for memorials for Thea Proctor and Dyring, and as the last president (1965) of the Society of Artists. His paintings were out of harmony with the prevailing fashion for abstraction, but he won the Wynne prize for landscape painting in 1961 and 1964 (shared). Perhaps the most moving works of Strachan's last ten years were the mining landscapes, including those he painted near Hill End, leading up to his vast canvas, 'Lewers Freehold Mine'. This was a history picture, depicting the mine as it might have appeared in 1874. He presented it to the Creswick Historical Museum in 1970 in memory of his father. (Barry Pearce, 'Strachan, David Edgar (1919–1970)', Australian Dictionary of Biography, National Centre of Biography, Australian National University, http://adb.anu.edu.au/biography/strachan-david-edgar-11786/text21083, published first in hardcopy 2002, accessed online 6 January 2016.) This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Framed still lifefeaturing fruit and flowers.art, artwork, strachan, david strachan, still life, flowers, flora, available

Bridget BODENHAM Bridget Bodenham has a Diploma of Arts (Ceramics) from the University of Ballarat (now Federation University. In 2006 she received an Emerging Artist grant from the Australia Council for the Arts and was also part of Craft’s annual graduate survey exhibition, Fresh!. She works full time making ceramic serving ware, tableware, utensils and jewellery as well as planter pots and flower vases. The majority of her work is designed to be used and enjoyed. Bridget feels a connection to her surrounding bushland landscape and interprets the tones and textures in her work. She takes great care in creating each piece by hand and firing them up to three times in her large gas kiln. Each firing is totally unique resulting in one off pieces. Bridget Bodenham was a finalist in the Bombay Sapphire Design Discovery Award (2008) for a series of ceramic mortars and pestles, and received an Honourable Mention in the Mino International Ceramic Award, Japan. Bridget aims to create a sense of curiosity and reflection in form and function. She hopes her work delights and engages the owners hands and heart into everyday activities. This piece won the SMB DVC Visual Arts Acquisition Award, 2006Mould made dining setting consisting of plate, two bowls and three eating utensils. Makers mark on versoceramics, bridget bodenham, artwork, alumni, dvc aquisition award

The Hamilton-Smith collection was donated by the children of Grace Mary Hamilton-Smith nee Ellwood (1911-2004) and John Hamilton-Smith (1909-1984) who settled in Wodonga in the 1940s. The Ellwood family had lived in north-east Victoria since the late 1800s. Grace’s mother, Rosina Ellwood nee Smale, was the first teacher at Baranduda in 1888, and a foundation member of the C.W.A. Rosina and her husband Mark retired to Wodonga in 1934. Grace and John married at St. David’s Church, Albury in 1941. John was a grazier, and actively involved in Agricultural Societies. The collection contains significant items which reflect the local history of Wodonga, including handmade needlework, books, photographs, a wedding dress, maps, and material relating to the world wars. This item has well documented provenance and a known owner. It forms part of a significant and representative historical collection which reflects the local history of Wodonga. It contributes to our understanding of social and family life in early twentieth century Wodonga, as well as providing interpretative capacity for themes including local history and social history. Three red second prize award certificates, and one cream coloured first prize award certificate.All inscribed with: "Awarded to: Mrs. H. Ellwood". hamilton-smith, hamilton-smith collection, ellwood, show, industrial show, award, prize, flower show, flowers, wodonga, social history

The artist: Marianne Louise Charlotte Amalie Wehl (19 Sept. 1867, Mt Gambier; 26 Oct. 1926, Melbourne), a flower painter who was active in South Australia and Victoria, and not to be confused with Marie Magdalene Wehl. Connection with Baron von Mueller: Von Mueller’s younger sister, Clara married Doctor Eduard Wehl and they lived in South Australia. They had 14 children, 6 of whom collected and painted botanical studies – some now in the National Herbarium, Melbourne. A cousin of Doctor Wehl – Carl Wehl – married Sophia Caroline (née Gorte) and one of their daughters was Marianne Wehl. It is recorded that von Mueller visited the Wehls and D’Altons in Halls Gap (Henrietta D'Alton was also a painter of wildflowers), so it is hard to believe that there is no influence at least. Von Mueller had over 1,400 collectors/artists working for him and 225 of them were women and children. Their work is housed in the National Herbarium, Melbourne. The donor believes that Marianne contributed to this work. There is no record of that, however, as only 169 of the artists have been identified, it may be a possibility. Marianne was one of six children of Carl Jakob Wilhelm Wehl (1830–1899) and Sophia Caroline Wehl (née Gorte) (1843–1920). She never married. https://data.environment.sa.gov.au/Content/Publications/JABG34P001_Dowe.pdf The plants: All of the plants painted by Marianne Wehl's in this donation were identified by Botanist Neil Marriott & Wendy Marriott, in July 2022. Neil Marriott said that the quality and beauty of these botanical studies made it easy for them to identify all the plants. He suggested they may be some of the first paintings of Grampians wildflowers. This makes the paintings highly important scientifically and botanically. Visitors to WAMA will be able to compare them with today’s plants in the Endemic Garden. Neil marvelled that Marianne found the specimens, as some of them are endemic and found only in the highest parts of the Grampians (Mt Rosea, Mt William and Major Mitchell Plateau) and are listed as rare and endangered. Some of these same rare plants have now been propagated by the WAMA team and in winter 2022 were planted in WAMA's Endemic Garden. This particular plant is Correa reflexa variety angustifolia – Grampians Correa. It is endemic to the Grampians and listed as rare. It has been propagated by the Marriotts and planted in the new Endemic Garden at the WAMA site. NB In some records she is called Marianna (as the donor calls her) and in others Marianne. Wildflower art, Wildlife artGift of Barbara Crick in memory of Marjorie and Lachlan McLennanSmall painting of red/yellow Correa reflexa angustifolia showing 2 flowers and 1 in bud, painted on brown paperLL ' MW' (underlined)wildflowers, flowers, marianne wehl, marianna wehl, flower painter, botany, works on paper, von mueller, baron von mueller, henrietta d'alton, wama, wildlife art, halls gap, painter, goauche

The artist: Marianne Louise Charlotte Amalie Wehl (19 Sept. 1867, Mt Gambier; 26 Oct. 1926, Melbourne), a flower painter who was active in South Australia and Victoria, and not to be confused with Marie Magdalene Wehl. Connection with Baron von Mueller: Von Mueller’s younger sister, Clara married Doctor Eduard Wehl and they lived in South Australia. They had 14 children, 6 of whom collected and painted botanical studies – some now in the National Herbarium, Melbourne. A cousin of Doctor Wehl – Carl Wehl – married Sophia Caroline (née Gorte) and one of their daughters was Marianne Wehl. It is recorded that von Mueller visited the Wehls and D’Altons in Halls Gap (Henrietta D'Alton was also a painter of wildflowers), so it is hard to believe that there is no influence at least. Von Mueller had over 1,400 collectors/artists working for him and 225 of them were women and children. Their work is housed in the National Herbarium, Melbourne. The donor believes that Marianne contributed to this work. There is no record of that, however, as only 169 of the artists have been identified, it may be a possibility. Marianne was one of six children of Carl Jakob Wilhelm Wehl (1830–1899) and Sophia Caroline Wehl (née Gorte) (1843–1920). She never married. https://data.environment.sa.gov.au/Content/Publications/JABG34P001_Dowe.pdf The plants: All of the plants painted by Marianne Wehl's in this donation were identified by Botanist Neil Marriott & Wendy Marriott, in July 2022. Neil Marriott said that the quality and beauty of these botanical studies made it easy for them to identify all the plants. He suggested they may be some of the first paintings of Grampians wildflowers. This makes the paintings highly important scientifically and botanically. Visitors to WAMA will be able to compare them with today’s plants in the Endemic Garden. Neil marvelled that Marianne found the specimens, as some of them are endemic and found only in the highest parts of the Grampians (Mt Rosea, Mt William and Major Mitchell Plateau) and are listed as rare and endangered. Some of these same rare plants have now been propagated by the WAMA team and in winter 2022 were planted in WAMA's Endemic Garden. Neil identifies this plant as Epacris impressa - Common Heath - white flower form. Common and widespread. NB In some records she is called Marianna (as the donor calls her) and in others Marianne.Wildflower art, Wildlife artGift of Barbara Crick in memory of Marjorie and Lachlan McLennanPainting of white heath spray, on brown paperLL ' MW' (underlined)wildflowers, flowers, marianne wehl, marianna wehl, flower painter, botany, works on paper, baron von mueller, von mueller, henrietta d'alton, wama, wildlife art, painter, goache, halls gap, wildlife art museum australia

The artist: Marianne Louise Charlotte Amalie Wehl (19 Sept. 1867, Mt Gambier; 26 Oct. 1926, Melbourne), a flower painter who was active in South Australia and Victoria, and not to be confused with Marie Magdalene Wehl. Connection with Baron von Mueller: Von Mueller’s younger sister, Clara married Doctor Eduard Wehl and they lived in South Australia. They had 14 children, 6 of whom collected and painted botanical studies – some now in the National Herbarium, Melbourne. A cousin of Doctor Wehl – Carl Wehl – married Sophia Caroline (née Gorte) and one of their daughters was Marianne Wehl. It is recorded that von Mueller visited the Wehls and D’Altons in Halls Gap (Henrietta D'Alton was also a painter of wildflowers), so it is hard to believe that there is no influence at least. Von Mueller had over 1,400 collectors/artists working for him and 225 of them were women and children. Their work is housed in the National Herbarium, Melbourne. The donor believes that Marianne contributed to this work. There is no record of that, however, as only 169 of the artists have been identified, it may be a possibility. Marianne was one of six children of Carl Jakob Wilhelm Wehl (1830–1899) and Sophia Caroline Wehl (née Gorte) (1843–1920). She never married. https://data.environment.sa.gov.au/Content/Publications/JABG34P001_Dowe.pdf The plants: All of the plants painted by Marianne Wehl's in this donation were identified by Botanist Neil Marriott & Wendy Marriott, in July 2022. Neil Marriott said that the quality and beauty of these botanical studies made it easy for them to identify all the plants. He suggested they may be some of the first paintings of Grampians wildflowers. This makes the paintings highly important scientifically and botanically. Visitors to WAMA will be able to compare them with today’s plants in the Endemic Garden. Neil marvelled that Marianne found the specimens, as some of them are endemic and found only in the highest parts of the Grampians (Mt Rosea, Mt William and Major Mitchell Plateau) and are listed as rare and endangered. Some of these same rare plants have now been propagated by the WAMA team and in winter 2022 were planted in WAMA's Endemic Garden. Neil identifies this particular plant as Daviesia brevifolia - Leafless Bitter Pea - a widespread but very showy plant in the heathlands. "It's very difficult to propagate, but due to its extremely showy nature, we have plants ready to plant in our Grampians Endemic Garden as ‘filler plants’." NB In some records she is called Marianna (as the donor calls her) and in others Marianne.Wildflower art, Wildlife art, Wildflowers, Marianne Wehl, Marrianna Wehl, Flower painter, Botany, works on paper, von Mueller, Baron von Mueller, Ferdinand von Mueller, Henriette D'Alton, WAMA, Halls Gap, painter, gouache, Wildlife Art Museum Australia, Wild Art Museum AustraliaGift of Barbara Crick in memory of Marjorie and Lachlan McLennanUnframed pinky orange pea flower painted in gouache on smoother side of brown cardLL ' MW' (underlined)wildflowers, flowers

The artist: Marianne Louise Charlotte Amalie Wehl (19 Sept. 1867, Mt Gambier; 26 Oct. 1926, Melbourne), a flower painter who was active in South Australia and Victoria, and not to be confused with Marie Magdalene Wehl. Connection with Baron von Mueller: Von Mueller’s younger sister, Clara married Doctor Eduard Wehl and they lived in South Australia. They had 14 children, 6 of whom collected and painted botanical studies – some now in the National Herbarium, Melbourne. A cousin of Doctor Wehl – Carl Wehl – married Sophia Caroline (née Gorte) and one of their daughters was Marianne Wehl. It is recorded that von Mueller visited the Wehls and D’Altons in Halls Gap (Henrietta D'Alton was also a painter of wildflowers), so it is hard to believe that there is no influence at least. Von Mueller had over 1,400 collectors/artists working for him and 225 of them were women and children. Their work is housed in the National Herbarium, Melbourne. The donor believes that Marianne contributed to this work. There is no record of that, however, as only 169 of the artists have been identified, it may be a possibility. Marianne was one of six children of Carl Jakob Wilhelm Wehl (1830–1899) and Sophia Caroline Wehl (née Gorte) (1843–1920). She never married. https://data.environment.sa.gov.au/Content/Publications/JABG34P001_Dowe.pdf The plants: All of the plants painted by Marianne Wehl's in this donation were identified by Botanist Neil Marriott & Wendy Marriott, in July 2022. Neil Marriott said that the quality and beauty of these botanical studies made it easy for them to identify all the plants. He suggested they may be some of the first paintings of Grampians wildflowers. This makes the paintings highly important scientifically and botanically. Visitors to WAMA will be able to compare them with today’s plants in the Endemic Garden. Neil marvelled that Marianne found the specimens, as some of them are endemic and found only in the highest parts of the Grampians (Mt Rosea, Mt William and Major Mitchell Plateau) and are listed as rare and endangered. Some of these same rare plants have now been propagated by the WAMA team and in winter 2022 were planted in WAMA's Endemic Garden. This framed work is considered by him to be the most significant botanically. Boronia pilosa – Hairy boronia. [Wikipedia says it’s a plant in the citrus family Rutaceae and is endemic to south-eastern Australia MH] Pultenaea subalpina - Rosy Bush-pea. Grampians endemic listed as endangered and only found on the tops of Mt William, Major Mitchell Plateau and Mt Rosea - named for the Rosy Bush-pea that grows on its top! This is the only rose-coloured bush pea in the entire genus, which occurs right across Australia!! We have plants ready to plant in the WAMA endemic garden! Boronia latipinna - Grampians Boronia. Grampians endemic only found on the higher peaks of the central Grampians ranges - listed endangered. NB In some records she is called Marianna (as the donor calls her) and in others Marianne. Wildflower art, Wildlife art, wildflowers, Marianne Wehl, Marianna Wehl, Flower paint, Botany, works on paper, von Mueller, Baron von Mueller, Ferdinand von Mueller, Henrietta D'Alton, WAM, Wild Art Museum Australia, Wildlife Art Museum AustraliaGift of Barbara Crick in memory of Marjorie and Lachlan McLennanThree small paintings of pink wildflowers mounted together in original frame. The central image is an oval, flanked by two rectangular images. The frame is probably original – smooth gloss olive green simulating wood or bamboo. It has a new backing paper.Each image LL ' MW' (underlined), central image has signature obscured by oval vignetted matt. On the reverse side it is marked in black felt pen, “McLennan 106 Bennet Rd (4)” This refers to preparation (rematting / framing?) for exhibiting at Horsham Art Gallery in 1981.wildflowers, flowers

The artist: Marianne Louise Charlotte Amalie Wehl (19 Sept. 1867, Mt Gambier; 26 Oct. 1926, Melbourne), a flower painter who was active in South Australia and Victoria, and not to be confused with Marie Magdalene Wehl. Connection with Baron von Mueller: Von Mueller’s younger sister, Clara married Doctor Eduard Wehl and they lived in South Australia. They had 14 children, 6 of whom collected and painted botanical studies – some now in the National Herbarium, Melbourne. A cousin of Doctor Wehl – Carl Wehl – married Sophia Caroline (née Gorte) and one of their daughters was Marianne Wehl. It is recorded that von Mueller visited the Wehls and D’Altons in Halls Gap (Henrietta D'Alton was also a painter of wildflowers), so it is hard to believe that there is no influence at least. Von Mueller had over 1,400 collectors/artists working for him and 225 of them were women and children. Their work is housed in the National Herbarium, Melbourne. The donor believes that Marianne contributed to this work. There is no record of that, however, as only 169 of the artists have been identified, it may be a possibility. Marianne was one of six children of Carl Jakob Wilhelm Wehl (1830–1899) and Sophia Caroline Wehl (née Gorte) (1843–1920). She never married. https://data.environment.sa.gov.au/Content/Publications/JABG34P001_Dowe.pdf The plants: All of the plants painted by Marianne Wehl's in this donation were identified by Botanist Neil Marriott & Wendy Marriott, in July 2022. Neil Marriott said that the quality and beauty of these botanical studies made it easy for them to identify all the plants. He suggested they may be some of the first paintings of Grampians wildflowers. This makes the paintings highly important scientifically and botanically. Visitors to WAMA will be able to compare them with today’s plants in the Endemic Garden. Neil marvelled that Marianne found the specimens, as some of them are endemic and found only in the highest parts of the Grampians (Mt Rosea, Mt William and Major Mitchell Plateau) and are listed as rare and endangered. Some of these same rare plants have now been propagated by the WAMA team and in winter 2022 were planted in WAMA's Endemic Garden. Neil says "This one is a composite of Purple Sarsaparilla Creeper Hardenbergia violacea (common and widespread throughout SE Australia), and Fairies Aprons Utricularia dichotoma - reasonably common and widespread in SE Australia." NB In some records she is called Marianna (as the donor calls her) and in others Marianne. Wildflower art, Wildlife art, wildflowers, Marianne Wehl, Marianna Wehl, Flower painter, Botany, works on paper, von Mueller, Baron von Mueller, Henrietta D'Alton, WAMA, Wildlife Art Museum Australia, Wild Art Museum AustraliaGift of Barbara CricksPainting of purple pea flower and pink fan-shaped flower, intertwined & placed asymmetrically to left, trailing to right. On textured brown paper with mottled brown matt.Signed “M.W.” left of stems. Reverse side backed with stained brown paper shield-shape stamped centre top: “J.A. Reynolds. Decorator & Picture Framer, 28 Sturt St., Ballarat”. Hand-written right side (in black felt pen) “McLennan, 106 Bennett Rd. (5)”. wildflowers, flowers

The artist: Marianne Louise Charlotte Amalie Wehl (19 Sept. 1867, Mt Gambier; 26 Oct. 1926, Melbourne), a flower painter who was active in South Australia and Victoria, and not to be confused with Marie Magdalene Wehl. Connection with Baron von Mueller: Von Mueller’s younger sister, Clara married Doctor Eduard Wehl and they lived in South Australia. They had 14 children, 6 of whom collected and painted botanical studies – some now in the National Herbarium, Melbourne. A cousin of Doctor Wehl – Carl Wehl – married Sophia Caroline (née Gorte) and one of their daughters was Marianne Wehl. It is recorded that von Mueller visited the Wehls and D’Altons in Halls Gap (Henrietta D'Alton was also a painter of wildflowers), so it is hard to believe that there is no influence at least. Von Mueller had over 1,400 collectors/artists working for him and 225 of them were women and children. Their work is housed in the National Herbarium, Melbourne. The donor believes that Marianne contributed to this work. There is no record of that, however, as only 169 of the artists have been identified, it may be a possibility. Marianne was one of six children of Carl Jakob Wilhelm Wehl (1830–1899) and Sophia Caroline Wehl (née Gorte) (1843–1920). She never married. https://data.environment.sa.gov.au/Content/Publications/JABG34P001_Dowe.pdf The plants: All of the plants painted by Marianne Wehl's in this donation were identified by Botanist Neil Marriott & Wendy Marriott, in July 2022. Neil Marriott said that the quality and beauty of these botanical studies made it easy for them to identify all the plants. He suggested they may be some of the first paintings of Grampians wildflowers. This makes the paintings highly important scientifically and botanically. Visitors to WAMA will be able to compare them with today’s plants in the Endemic Garden. Neil marvelled that Marianne found the specimens, as some of them are endemic and found only in the highest parts of the Grampians (Mt Rosea, Mt William and Major Mitchell Plateau) and are listed as rare and endangered. Some of these same rare plants have now been propagated by the WAMA team and in winter 2022 were planted in WAMA's Endemic Garden. Left to right: (Neil's comments) Tetratheca ciliata - Black-eyed Susan. Common and widespread. Marianthus bignoniaceus –Orange Bell-Climber. Confined to drainage lines and winter-wet areas, generally well shaded. A most beautiful light climber with the Grampians being its only location in Victoria, but amazingly, it is also found in small numbers in the wetter parts of the Mt Lofty Ranges and on Kangaroo Island in South Australia. Although not strictly endemic, it has been propagated for planting in our endemic garden due to its rarity in Victoria. Leptospermum myrsinoides - Heath Tea-tree. Common and widespread. Spider Orchid Caladenia species- need my orchid books for accurate identification! Thryptomene calycina - Grampians Thryptomene. Grampians endemic but common. Epacris impressa - Common Heath - white flower form. Common and widespread NB In some records she is called Marianna (as the donor calls her) and in others Marianne. Wildflower art, Wildlife artGift of Barbara Crick in memory of Marjorie and Lachlan McLennanSix individual, small paintings of Grampians wildflowers, matted together and framed in a smooth gloss olive green simulating wood or bamboo.All are signed with the initials “M.W.” underlined, to the left or right of the stem of the plant. On the reverse side - Shield-shape stamp centre top: “J.A. Reynolds. Decorator & Picture Framer, 28 Sturt St., Ballarat”. Hand-written right of that in black felt pen at an angle, “McLennan, 106 Bennett Rd. (2)”.wildflowers, flowers, marianne wehl, marianna wehl, wama, painting, gouache, wildlife art museum australia, wild art museum australia, flower painter, works on paper, halls gap, botany, baron von mueller, ferdinand von mueller, carl wehl

Certificate awarded to J. Scott, Nurseryman, Hawthorn. Mrs J.C. Corbett's aunt married a son of James Scott.Bronze coloured medal set in illuminated cardboard certificate awarded to J. Scott, Nurseryman, Hawthorn. Designed and printed by W. Calvert 89 Little Collins St., Melbourne, sculpted by C. Summers. (Also see B92.664 and framed copy B92.548.)Handwritten on reverse, 'Presented by Mrs. J.C. Corbett, 28 Stawell St., Kew.medal, certificate awarded, j. scott, nurseryman, w. calvert, c. summers, mrs. j.c. corbett, james scott, j.c. corbett, flowers, first prize

Part of "Woolcock Gallery Collection" exhibition 1989, CEMA.Two flowering plant studies. On left is a grey-green foliaged plant with small leaves growing close to the stem. Multiple stems end in single rounded flowers with many petals. On the left of this study are two details of a florette with many petals. One the right of this study is a detail of a cluster of leaves. The study on the right of page contains multiple stems with narrow, long grey leaves on stems ending with a single rounded yellow flower. To the lower left of this study is a detail of a yellow flower stem.Front: Calocephalus brownii (Cushion Bush). " citreus (Lemon Beauty-heads) (lower left) (pencil) CEW/85 (base of flower, lower left) (coloured pencil) CEWoolcock (lower right, signature) (pencil) Back: 16 (upper left) (pen)

This local flower show award from 1905 together with others in the collection demonstrates the significance of such shows as a form of social activity as well as horticultural science over the decades. It is also an example of church groups being involved in the social fabric of the community and activities that embraced all segments of the community of different religious persuasions as the certificate was awarded to Michael Taffe, a Roman Catholic in a Church of England enclave. The Girls' Friendly Society founded in England in 1875 was an Anglican Church group which formed to give maids and female domestic staff spiritual guidance and social activities for their days off. The first local Australian branch was formed in Adelaide in 1879 with branches being established in Ballarat from the 1880s. Other certificates from 1899 to the 1930s in this collection of Taffe awards come from a range of faiths and community groups. This award is one of a family collection from the nineteenth century through to the twenty-first century further demonstrating horticultural enthusiasts exhibition participation across generations.This certificate evidences one of the activities of the Girls Friendly Society St Paul's Branch in a community event that embraced the local community. The Girls Friendly Society commenced in Ballarat in the 1880s and this certificate evidences one way in which the movement not only raised funds but actively involved itself in the local community regardless of creed.Inscribed 'Stock Double Mr M J Taffe'.girls friendly society, st paul's, flower show, 1905,, ballarat

Caption to photograph "2. From left: Misses K. Pullar, L. Harris and G. Crouch, from Burnley Horticultural School arriving with a display of flowers." (All 1934).k. pullar, l. harris, g. crouch, burnley horticultural college, flowers, exhibition, wild nature show

Part of "Woolcock Gallery Collection" Exhibition 1989, CEMAView on left is a stem with six smaller stems coming from the top, with nine full flowers and three buds. The flowers are yellow with red and purple clouring on the petals at the centre. Leaves are dark green, long and narrow. On the right there are two flower studies from top and side views. One the lower right is a leaf study, a bud study, a study of a stem with two leaves and a seed study. Studies are numberes with typed letters on paper (white) and glued to surface of image. Also numbered in pencil.Front: Dillwynia glaberima (lower right) (pencil) CEW (Signature, lower left in image) (red pencil) Back: 43 (upper left) (pen)cema, botanical, collin woolcock, woolcock, drawing, botanical drawings

Part of "Woolcock Gallery Collection" exhibition 1989 CEMADrawings of cuttings and flower details of two plant species with yellow flowers and green foliage. Five drawings including one flower detail (yellow and pencil), one cutting of tall yellow (Daisy-like) flower with a red-brown stem and long green leaves along stem and at base, one cutting with many flowers (no petals, button-like) on thin green stems with green flower details. The work is on white paper mounted on apricot (first layer) and pale grey (second layer) cardboard. It is framed under glass in a gold and grey-green frame.Front: CEW/85 (vertical next to stem) Podolepis jaceoides (Showy Podolepis) Cotula coronopifolia (Water Buttons) (lower left) CEWoolcock (lower right) Back: 22 (upper left)woolcock, cema, botanical

Part of Woolcock Gallery Collection Exhibition, CEMA, 1989.Drawings of cuttings and flower details of two plants with green stem, yellow flower and long green leaves. Nine drawings including (left-right) one brown and green detail, one yellow and pencil flower detail, a cutting of plant with a tall yellow flower and green foliage at base of stem, two flower details in pencil (one with yellow), a cutting with yellow flower and green foliage at base, two flower details in yellow and one detail in green and yellow. The work is mounted in a double matt (pale grey on apricaot) and framed under glass in a gold and grey-green frame.Front: CEW/85 (vertical next to stem) Craspedia glauca (uniflora) (Common Billy-button) " pleiocephala (Soft " ") (lower left) (pencil) Back: 23 (upper left) (pen)cema, botanical, collin woolcock

Part of Woolcock Gallery Collection Exhibition, CEMA, 1989.Drawings of a plant stem with detailed views of flowers and leaves. Upper left is a top view of a yellow and red flower, labled "b1". Below this is a study of two heart-shaped, dark green leaves ("c"). In centre is a setm view with many-leafed stems coming from the central stem (approximately 8-10 leaves per stem) ("a"). Three flowers on long thin stalks come from these leafed stems. One bud and two seed pods are also shown sprouting from the stems. On right are two flower views - one side view and one back view. Numbers are in pencil and are also printed on white paper and glued to surface of the paper. The work is mounted in a double matt (off-white on yellow) and framed under glass in a wooden frame with gold paint.Front: Bossiaea cordigea (lower left) (pencil) Written in hand unlike the artist's over an erased pencil title. CEW (signature, lower left of image) (purple pencil) Back: 52 (upper left) (pen)collin woolcock, woolcock collection, woolcock, botanical drawings, botanical

Part of "Woolcock Gallery Collection" Exhibition 1989, CEMAFramed drawing of cutting, flower and leaf details of plant with brown stem, long pointed green leaves and green and purple flowers. Eight drawings, including one cutting, four flower details (3 side views, 1 above view) and 3 leaf details. The work is mounted on pale purple (first layer) and pale Grey (second layer) matt. It is framed under glass in a gold and grey-green frame.Front: CEW (born pencil - next to stem). Acrotriche serrulata (bottom left) Back: 8 (upper left)botanical, woolcock, woolcock collection, collin woolcock, botanical drawings

Part of "Woolcock Gallery Collection". Exhibition CEMA 1989.Studies of leaves and flowers. Three studies of leaves, one cluster on a stem and two in detail. Three studies of flowers a different stages of development: two showing the pink and green petals emerging from the green calyx and and one showing six stamen surrounding the stigma and style of a pistil. At the top right of the image is a study of a seed, green with pink surrounding petals. On the far left centre is a view of a stem with green leaves and flowers.Front: Styphelia adscendus Golden Heath 6/9/71 (lower left) (pencil) CEW/71 (green pencil) (lower centre of image) 40 (pencil, erased) (lower right) Back: 2 (upper left) (pen)cema, botanical, collin woolcock, woolcock collection, botanical drawings

Part of "Woolcock Gallery Collection" exhibition 1989, CEMA.Drawing of cuttings and flower and foliage details of plant with brown stem, narrow green leaves and green and yellow flowers. Eight drawings including one cutting with green foliage and four flowers, two flower details (one side view and one above view) two long leaf details, two details of buds and one detail of a stem with five leaves. The work is mounted on apricot and white matts. Framed in gold and grey-green frame with glass glazing.Front: CEW/72 (green pencil, below stem) Pine Heath (lower left) 45 (lower right, erased) Back: 4 (upper left)collin woolcock, woolcock, woolcock collection, botanical drawings, botanical

Part of Woolcock Gallery Collection Exhibition, CEMA, 1989.Drawings of cuttings of a plants with different views and details. Two larger views depict stems with flowers and leaves. These are at the top and the bottom of the image, with the lower stem showing more base of the florettes. Six different views of leaves, three floew details and a smaller stem study accompany the larger studies. The work is mounted in a double matt (off-white on grey) and framed under glass in a wooden frame with silver-paint.Front: Hel. secundiflorum (Cascade Everlasting) " paralium (Coast " ) ~ " thyrsoideum (Sticky " ) (lower left) (pencil) Back: 29 (upper left) (pen)cema, botanical, collin woolcock

Part of "Woolcock Gallery Collection" Exhibition, 1989, CEMA.Four studies of flowers, complete from base to flower. On far left is a single stem flower with many petals and a large centre. The base has many long tapered leaves, with the stem possessing smaller leaves. On left of this study is a study of a seed. To the right of this is another flower - similar to the first flower, but with stronger base leaves and one leaf on stem. Central flower study has three stems with leaves and flowers (central flower is a bud). Leaves are ripple-edged. On far right is a fourth flower study - single-stemmed flower with ripple-edged leaves at base and up the stalk.Front: Brachycome radicans (Marsh Daisy). " scapigera (Tufted Daisy). " diversifolia (Tall Daisy). " tenuiscapa (var. tenuiscapa) Mountain Daisy) (lower left) (pencil). CEW/85 (pen) (lower centre) Back: 25cema, botanical, collin woolcock

Part of Woolcock Gallery Collection Exhibition, CEMA, 1989.Studies of stem and details of a plant. On left is a study of a stem with short, narrow leaves (in clusters of 2 or 3) and pink flowers, with large pale pink petals and a darker centre. On the right are detailed studies with typed letters affixed to the paper surface. "b1" is a front view of a flower. "b2" is a side view of a flower. "c" is a leaf and stalk detail. "d" is a seed detail. "b3" is a back of flower view. On far right are erased letters in pencil, and one also on the left next to a typed "a". Mounted in a double matt (pale grey on mauve) in glazed timber frame with gold paint.Front: Burtonia scabra (lower right) (pencil) CEW (signature, lower left of image) (mauve pencil) Back: (no inscriptions)cema, botanical, collin woolcock, botanical drawings, woolcock, woolcock collection

Framed and glazed copy or replica of B92.536medal, certificate awarded, j. scott, nurseryman, w. calvert, c. summers, mrs. j.c. corbett, james scott, j.c. corbett, flowers, first prize

Certificate issued by Melbourne City Council inscribed, 'This is to Certify that School of Horticulture Burnley Exhibited Flowering Shrubs, Roses, Iris, Dianthus, etc. at "Garden City," Treasury Gardens, Melbourne during the period 23rd October to 18th November, 1939, Town Hall, Melbourne. Signed by A.W. Coles, Lord Mayor of Melbourne.'Certificate issued by Melbourne City Council inscribed, 'This is to Certify that School of Horticulture Burnley Exhibited Flowering Shrubs, Roses, Iris, Dianthus, etc. at "Garden City," Treasury Gardens, Melbourne during the period 23rd October to 18th November, 1939, Town Hall, Melbourne. Signed by A.W. Coles, Lord Mayor of Melbourne.'melbourne city council, flowers, plants, exhibition, treasury gardens, a.w.coles, 1939, garden city, town hall, lord mayor, certificate

Certificate issued by Melbourne City Council inscribed, 'This is to Certify that School of Horticulture Burnley Exhibited Cultivated Native Flowers at "Garden City," Treasury Gardens, Melbourne during the period 23rd October to 18th November, 1939, Town Hall, Melbourne. Signed by A.W. Coles, Lord Mayor of Melbourne.Certificate issued by Melbourne City CouncilCertificate issued by Melbourne City Council inscribed, 'This is to Certify that School of Horticulture Burnley Exhibited Cultivated Native Flowers at "Garden City," Treasury Gardens, Melbourne during the period 23rd October to 18th November, 1939, Town Hall, Melbourne. Signed by A.W. Coles, Lord Mayor of Melbourne.certificates, melbourne city council, flowers, plants, exhibition, treasury gardens, a.w.coles, 1939