A black and white photograph of members of the Branchflower Family who resided in Marysville in Victoria.A black and white photograph of members of the Branchflower Family who resided in Marysville in Victoria. Thomas was born in London in 1896. He arrived in Australia in 1922 with his wife Alice and baby Peggy. Thomas spent the early 1930s in Marysville as a builder, in particular on Eric Dowdle's guesthouses, and built his family a house on the Buxton road. He built The Log Cabin in the traditional way with no nails. It was built for Gwendoline Pitman after the death of her father Clarence Pitman and the disappearance of her sister Olive in July 1926. Gwendoline operated an artist and souvenir shop in the newly built Log Cabin in partnership with Peter Mackey who was a Melbourne optician and artist. Alice died in 1944 and Thomas married Irene Sutherland in 1945; they had three children. Thomas Henry Branchflower died in Mont Albert in 1970. At the time of his death, he was a building assessor.Thomas Branchflower/ Ken Branchflower/ Peg Branchflower/ Blackie/ ?/ Marysville/ 1932the log cabin, marysville, victoria, thomas henry branchflower, gerald branchflower, mary chain, gwendoline pitman, clarence pitman, kooringa guesthouse, olive pitman, wilbur anderson, peter mackey, alice maude branchflower, alice maude humm, collingwood, pianomaker, preston, pianoforte maker, cabinetmaker, peggy branchflower, kenneth branchflower, irene sutherland, irene branchflower, mont albert, building assessor

A black and white photograph of a member of the Branchflower Family who resided in Marysville in Victoria.A black and white photograph of a member of the Branchflower Family who resided in Marysville in Victoria. Thomas was born in London in 1896. He arrived in Australia in 1922 with his wife Alice and baby Peggy. Thomas spent the early 1930s in Marysville as a builder, in particular on Eric Dowdle's guesthouses, and built his family a house on the Buxton road. He built The Log Cabin in the traditional way with no nails. It was built for Gwendoline Pitman after the death of her father Clarence Pitman and the disappearance of her sister Olive in July 1926. Gwendoline operated an artist and souvenir shop in the newly built Log Cabin in partnership with Peter Mackey who was a Melbourne optician and artist. Alice died in 1944 and Thomas married Irene Sutherland in 1945; they had three children. Thomas Henry Branchflower died in Mont Albert in 1970. At the time of his death, he was a building assessor.Alice Branchflower/ Blackie/ Marysville/ 1932the log cabin, marysville, victoria, thomas henry branchflower, gerald branchflower, mary chain, gwendoline pitman, clarence pitman, kooringa guesthouse, olive pitman, wilbur anderson, peter mackey, alice maude branchflower, alice maude humm, collingwood, pianomaker, preston, pianoforte maker, cabinetmaker, peggy branchflower, kenneth branchflower, irene sutherland, irene branchflower, mont albert, building assessor

A black and white photograph of members of the Branchflower Family who resided in Marysville in Victoria.A black and white photograph of members of the Branchflower Family who resided in Marysville in Victoria. Thomas was born in London in 1896. He arrived in Australia in 1922 with his wife Alice and baby Peggy. Thomas spent the early 1930s in Marysville as a builder, in particular on Eric Dowdle's guesthouses, and built his family a house on the Buxton road. He built The Log Cabin in the traditional way with no nails. It was built for Gwendoline Pitman after the death of her father Clarence Pitman and the disappearance of her sister Olive in July 1926. Gwendoline operated an artist and souvenir shop in the newly built Log Cabin in partnership with Peter Mackey who was a Melbourne optician and artist. Alice died in 1944 and Thomas married Irene Sutherland in 1945; they had three children. Thomas Henry Branchflower died in Mont Albert in 1970. At the time of his death, he was a building assessor.Peg Branchflower/ Ken Branchflower/ Marysville/ 1932the log cabin, marysville, victoria, thomas henry branchflower, gerald branchflower, mary chain, gwendoline pitman, clarence pitman, kooringa guesthouse, olive pitman, wilbur anderson, peter mackey, alice maude branchflower, alice maude humm, collingwood, pianomaker, preston, pianoforte maker, cabinetmaker, peggy branchflower, kenneth branchflower, irene sutherland, irene branchflower, mont albert, building assessor

A black and white photograph of a member of the Branchflower Family who resided in Marysville in Victoria.A black and white photograph of a member of the Branchflower Family who resided in Marysville in Victoria. Thomas was born in London in 1896. He arrived in Australia in 1922 with his wife Alice and baby Peggy. Thomas spent the early 1930s in Marysville as a builder, in particular on Eric Dowdle's guesthouses, and built his family a house on the Buxton road. He built The Log Cabin in the traditional way with no nails. It was built for Gwendoline Pitman after the death of her father Clarence Pitman and the disappearance of her sister Olive in July 1926. Gwendoline operated an artist and souvenir shop in the newly built Log Cabin in partnership with Peter Mackey who was a Melbourne optician and artist. Alice died in 1944 and Thomas married Irene Sutherland in 1945; they had three children. Thomas Henry Branchflower died in Mont Albert in 1970. At the time of his death, he was a building assessor.the log cabin, marysville, victoria, thomas henry branchflower, gerald branchflower, mary chain, gwendoline pitman, clarence pitman, kooringa guesthouse, olive pitman, wilbur anderson, peter mackey, alice maude branchflower, alice maude humm, collingwood, pianomaker, preston, pianoforte maker, cabinetmaker, peggy branchflower, kenneth branchflower, irene sutherland, irene branchflower, mont albert, building assessor

A black and white photograph of members of the Branchflower Family who resided in Marysville in Victoria.A black and white photograph of members of the Branchflower Family who resided in Marysville in Victoria. Thomas was born in London in 1896. He arrived in Australia in 1922 with his wife Alice and baby Peggy. Thomas spent the early 1930s in Marysville as a builder, in particular on Eric Dowdle's guesthouses, and built his family a house on the Buxton road. He built The Log Cabin in the traditional way with no nails. It was built for Gwendoline Pitman after the death of her father Clarence Pitman and the disappearance of her sister Olive in July 1926. Gwendoline operated an artist and souvenir shop in the newly built Log Cabin in partnership with Peter Mackey who was a Melbourne optician and artist. Alice died in 1944 and Thomas married Irene Sutherland in 1945; they had three children. Thomas Henry Branchflower died in Mont Albert in 1970. At the time of his death, he was a building assessor.the log cabin, marysville, victoria, thomas henry branchflower, gerald branchflower, mary chain, gwendoline pitman, clarence pitman, kooringa guesthouse, olive pitman, wilbur anderson, peter mackey, alice maude branchflower, alice maude humm, collingwood, pianomaker, preston, pianoforte maker, cabinetmaker, peggy branchflower, kenneth branchflower, irene sutherland, irene branchflower, mont albert, building assessor

A black and white photograph of members of the Branchflower Family who resided in Marysville in Victoria.A black and white photograph of members of the Branchflower Family who resided in Marysville in Victoria. Thomas was born in London in 1896. He arrived in Australia in 1922 with his wife Alice and baby Peggy. Thomas spent the early 1930s in Marysville as a builder, in particular on Eric Dowdle's guesthouses, and built his family a house on the Buxton road. He built The Log Cabin in the traditional way with no nails. It was built for Gwendoline Pitman after the death of her father Clarence Pitman and the disappearance of her sister Olive in July 1926. Gwendoline operated an artist and souvenir shop in the newly built Log Cabin in partnership with Peter Mackey who was a Melbourne optician and artist. Alice died in 1944 and Thomas married Irene Sutherland in 1945; they had three children. Thomas Henry Branchflower died in Mont Albert in 1970. At the time of his death, he was a building assessor.the log cabin, marysville, victoria, thomas henry branchflower, gerald branchflower, mary chain, gwendoline pitman, clarence pitman, kooringa guesthouse, olive pitman, wilbur anderson, peter mackey, alice maude branchflower, alice maude humm, collingwood, pianomaker, preston, pianoforte maker, cabinetmaker, peggy branchflower, kenneth branchflower, irene sutherland, irene branchflower, mont albert, building assessor

A black and white photograph of members of the Branchflower Family who resided in Marysville in Victoria.A black and white photograph of members of the Branchflower Family who resided in Marysville in Victoria. Thomas was born in London in 1896. He arrived in Australia in 1922 with his wife Alice and baby Peggy. Thomas spent the early 1930s in Marysville as a builder, in particular on Eric Dowdle's guesthouses, and built his family a house on the Buxton road. He built The Log Cabin in the traditional way with no nails. It was built for Gwendoline Pitman after the death of her father Clarence Pitman and the disappearance of her sister Olive in July 1926. Gwendoline operated an artist and souvenir shop in the newly built Log Cabin in partnership with Peter Mackey who was a Melbourne optician and artist. Alice died in 1944 and Thomas married Irene Sutherland in 1945; they had three children. Thomas Henry Branchflower died in Mont Albert in 1970. At the time of his death, he was a building assessor.the log cabin, marysville, victoria, thomas henry branchflower, gerald branchflower, mary chain, gwendoline pitman, clarence pitman, kooringa guesthouse, olive pitman, wilbur anderson, peter mackey, alice maude branchflower, alice maude humm, collingwood, pianomaker, preston, pianoforte maker, cabinetmaker, peggy branchflower, kenneth branchflower, irene sutherland, irene branchflower, mont albert, building assessor

A black and white photograph of members of the Branchflower Family who resided in Marysville in Victoria.A black and white photograph of members of the Branchflower Family who resided in Marysville in Victoria. Thomas was born in London in 1896. He arrived in Australia in 1922 with his wife Alice and baby Peggy. Thomas spent the early 1930s in Marysville as a builder, in particular on Eric Dowdle's guesthouses, and built his family a house on the Buxton road. He built The Log Cabin in the traditional way with no nails. It was built for Gwendoline Pitman after the death of her father Clarence Pitman and the disappearance of her sister Olive in July 1926. Gwendoline operated an artist and souvenir shop in the newly built Log Cabin in partnership with Peter Mackey who was a Melbourne optician and artist. Alice died in 1944 and Thomas married Irene Sutherland in 1945; they had three children. Thomas Henry Branchflower died in Mont Albert in 1970. At the time of his death, he was a building assessor.the log cabin, marysville, victoria, thomas henry branchflower, gerald branchflower, mary chain, gwendoline pitman, clarence pitman, kooringa guesthouse, olive pitman, wilbur anderson, peter mackey, alice maude branchflower, alice maude humm, collingwood, pianomaker, preston, pianoforte maker, cabinetmaker, peggy branchflower, kenneth branchflower, irene sutherland, irene branchflower, mont albert, building assessor

A black and white photograph of a member of the Branchflower Family who resided in Marysville in Victoria.A black and white photograph of a member of the Branchflower Family who resided in Marysville in Victoria. Thomas was born in London in 1896. He arrived in Australia in 1922 with his wife Alice and baby Peggy. Thomas spent the early 1930s in Marysville as a builder, in particular on Eric Dowdle's guesthouses, and built his family a house on the Buxton road. He built The Log Cabin in the traditional way with no nails. It was built for Gwendoline Pitman after the death of her father Clarence Pitman and the disappearance of her sister Olive in July 1926. Gwendoline operated an artist and souvenir shop in the newly built Log Cabin in partnership with Peter Mackey who was a Melbourne optician and artist. Alice died in 1944 and Thomas married Irene Sutherland in 1945; they had three children. Thomas Henry Branchflower died in Mont Albert in 1970. At the time of his death, he was a building assessor.the log cabin, marysville, victoria, thomas henry branchflower, gerald branchflower, mary chain, gwendoline pitman, clarence pitman, kooringa guesthouse, olive pitman, wilbur anderson, peter mackey, alice maude branchflower, alice maude humm, collingwood, pianomaker, preston, pianoforte maker, cabinetmaker, peggy branchflower, kenneth branchflower, irene sutherland, irene branchflower, mont albert, building assessor

A black and white photograph of Thomas Branchflower who resided in Marysville in Victoria.A black and white photograph of Thomas Branchflower who resided in Marysville in Victoria. Thomas was born in London in 1896. He arrived in Australia in 1922 with his wife Alice and baby Peggy. Thomas spent the early 1930s in Marysville as a builder, in particular on Eric Dowdle's guesthouses, and built his family a house on the Buxton road. He built The Log Cabin in the traditional way with no nails. It was built for Gwendoline Pitman after the death of her father Clarence Pitman and the disappearance of her sister Olive in July 1926. Gwendoline operated an artist and souvenir shop in the newly built Log Cabin in partnership with Peter Mackey who was a Melbourne optician and artist. Alice died in 1944 and Thomas married Irene Sutherland in 1945; they had three children. Thomas Henry Branchflower died in Mont Albert in 1970. At the time of his death, he was a building assessor.the log cabin, marysville, victoria, thomas henry branchflower, gerald branchflower, mary chain, gwendoline pitman, clarence pitman, kooringa guesthouse, olive pitman, wilbur anderson, peter mackey, alice maude branchflower, alice maude humm, collingwood, pianomaker, preston, pianoforte maker, cabinetmaker, peggy branchflower, kenneth branchflower, irene sutherland, irene branchflower, mont albert, building assessor

A black and white photograph of Thomas Branchflower who resided in Marysville in Victoria.A black and white photograph of Thomas Branchflower who resided in Marysville in Victoria. Thomas was born in London in 1896. He arrived in Australia in 1922 with his wife Alice and baby Peggy. Thomas spent the early 1930s in Marysville as a builder, in particular on Eric Dowdle's guesthouses, and built his family a house on the Buxton road. He built The Log Cabin in the traditional way with no nails. It was built for Gwendoline Pitman after the death of her father Clarence Pitman and the disappearance of her sister Olive in July 1926. Gwendoline operated an artist and souvenir shop in the newly built Log Cabin in partnership with Peter Mackey who was a Melbourne optician and artist. Alice died in 1944 and Thomas married Irene Sutherland in 1945; they had three children. Thomas Henry Branchflower died in Mont Albert in 1970. At the time of his death, he was a building assessor.the log cabin, marysville, victoria, thomas henry branchflower, gerald branchflower, mary chain, gwendoline pitman, clarence pitman, kooringa guesthouse, olive pitman, wilbur anderson, peter mackey, alice maude branchflower, alice maude humm, collingwood, pianomaker, preston, pianoforte maker, cabinetmaker, peggy branchflower, kenneth branchflower, irene sutherland, irene branchflower, mont albert, building assessor

A copy of an early oil painting of Fernshaw in Victoria.A copy of an early oil painting of Fernshaw in Victoria by Isaac Whitehead. Isaac Whitehead (1819–1881) was an Irish-Australian artist who worked in watercolour and pastel. He was also a picture framer and art promoter. It is believed that Isaaz Whitehead emigrated to Australia with his family in either 1853 or 1858. Isaac Whitehead died at his home 50 Punt Road, Prahran, Melbourne, on 21 April 1881. Isaac Whitehead had established himself as the foremost picture framer in Melbourne by 1860, known for his highly ornate frames with floral decorations. Among the clients of his framing business were Louis Buvelot, Nicholas Chevalier, and Eugene von Guérard. In his own paintings, he painted a number of scenes of the forests of Gippsland, Victoria. His work focused on the rich landscapes with trees and ferns, with a high degree of botanical detail. His work won him two medals and his work was posthumously exhibited at 1884 Victorian Jubilee Exhibition, the 1886 London Colonial and Indian Exhibition, and the 1888 Melbourne Centennial Intercolonial Exhibition. Fernshaw was a rural township 63 km northeast of Melbourne and 10 km northeast of Healesville. Situated on the Watts River, near where a log had fallen making a convenient crossing, Fernshaw was settled in the 1860s. It provided good country for orchards and berry growing. The location was at the foot of Blacks Spur, with Mounts Juliet and Mondah rising on either side, providing spectacular scenery. There were nearby fern gullies giving rise to the name – ‘shaw’ is old English for thicket or wood. By 1875 Fernshaw had a post office (1865), two hotels, a school (1871), and stores. It was famed for its beauty, attracting tourists. In 1886 the Melbourne and Metropolitan Board of Works began work on the Watts River water catchment scheme – later to become Maroondah – and the Board obtained approval for the catchment country to be reserved and kept free of settlement. This required the removal of the Fernshaw township, which was completed by about 1890.isaac whitehead, fernshaw, victoria, louis buvelot, nicholas chevalier, eugene von guerard, gippsland, victorian jubilee exhibition, london colonial and indian exhibition, melbourne centennial intercolonial exhibition, watts river, healesville, blacks spur, mount juliet, mount mondah

Three historically significant buildings are here at 701 Main Road, opposite Dalton Street, Eltham. Jarrold Cottage or White Cloud was built about 1863 and remains one of the oldest buildings in Eltham. It was once used temporarily as Eltham’s first police station. The Jarrolds were a pioneer family of market gardeners and building tradesmen over six decades and from the early 1940s, with the Skippers and other prominent local figures involved in the construction and development of the Montsalvat Artists' Colony. Len Jarrold, a carpenter, worked at Montsalvat from the beginning and became foreman of works for the splendid 1938 Great Hall. The Skipper family, also involved with Montsalvat, were associated with Jarrold Cottage from 1944 when it was purchased by Lena Skipper. Digital copy of colour photographfred mitchell collection, 2007, eltham, jarrold cottage, main road

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 Glernfern H0136 https://vhd.heritagecouncil.vic.gov.au/places/57 (as at 23/10/2020) Glenfern was built on spacious grounds at the corner of Inkerman and Hotham Streets, East St Kilda in two main stages in 1857 and 1876. From 1876 to 1984 Glenfern had only two owners, including the well known Melbourne family of artists, the Boyds. The property was bequeathed to the National Trust of Australia (Victoria) in 1984 and has remained in their ownership. The original Glenfern allotment was bought by John Bakewell in 1856 and sold the following year to Francis McDonnell, a prominent Melbourne investor. By 1858, the house, rated as the most valuable in Caulfield, had been built on the site. Due to financial difficulties, McDonnell offered a number of properties for sale in 1860, including Glenfern. It was not sold at this stage, but subsequently mortgaged in 1862. In 1866 Thomas Watson purchased the property and lived there until 1876 when it was sold to Captain John T. T. Boyd and his wife, Lucy, founders of the Boyd dynasty of artists, musicians, writers and architects. The Boyd family, including twelve children, lived there until 1907, with Lucy Boyd retaining ownership after her husband's death in 1891. In 1907 the property was subdivided and the greatly reduced Glenfern portion was purchased by the Ostberg family, who lived there from 1915. In the latter years of Boyd family ownership and the Ostberg ownership, Glenfern had several tenants and was run as a school on two occasions. The Ostberg family occupancy continued until the death of Miss Amy Ostberg in 1984. From 1929 the property was listed as Glenfern Flats, necessitating various internal alterations over a period of time. The original two storey house, attributed to architect Charles Laing, was extended for the Boyd family in 1876, by architect M. Hennessy. This comprised the addition of a two storey wing to the south of the existing building. Stables were built in 1884 by the architects Smith and Johnson and other outbuildings, since removed, were recorded on the site. The gardens were developed from the establishment of the estate and remnants of early plantings, exotic trees in particular, are evident. Various additions and alterations were made to the house in the twentieth century and a separate block of flats was built on the southern boundary in c1964. Glenfern is a two storey picturesque Gothic house of stuccoed brick with steep, gabled slate roofs, elaborate bargeboards and chimneys of conjoined stacks set diagonally. The original, asymmetrically planned L-shaped house, containing the principal rooms and a rear wing, was designed with two main facades facing north and west. The north facade contains an unusual recessed pointed arch bay formed between twin chimney flues. Internally cedar joinery includes an unusual set of double doors between the drawing room and parlour, the centre pair of which fold back and then slide into the walls. Detailing of the 1876 additions copied that of the original house, including the bargeboards, chimneys and western verandah. Ownership of Glenfern passed to the National Trust of Australia (Victoria) in 1984 and in 2002 transformation of the property into a Centre for the Arts and Culture commenced. This began with the establishment of an Artist-in-residence programme, followed by the Glenfern Writers Centre. Restoration and renovation of the building has been undertaken concurrently with the establishment of this centre. How is it significant? Glenfern, East St Kilda is of architectural and historical significance to the State of Victoria. Why is it significant? Glenfern is of architectural significance as an unusually intact and rare example of the picturesque domestic Gothic Revival house in Victoria. Of particular note are the clustered chimneys, bargeboards and twin arched chimney flues and the folding/sliding cedar doors between the principal rooms. It is significant as an important work of the prominent Melbourne architect, Charles Laing. Glenfern is of historical significance for its connection with the distinguished Victorian Boyd family. It has been recorded in a painting by Emma Boyd, wife of Arthur, in 1885 and in print by writer, Martin Boyd in 1952. Glenfern is of historical significance due to its ownership by only two families from 1876; firstly the Boyds until 1907 and the Ostbergs until 1984. Of note is the resistance to redevelopment in the latter half of the twentieth century and the subsequent survival of the 1907 Glenfern estate.Page 98 of Photograph Album with two photographs (one square and one landscape) of views of Glenfern.Handwritten: "Glenfern" 417 Inkerman Street [top right] / 98 [bottom right]trevor hart, east st kilda, garden, pitched roof, glenfern, hotham street, boyd family, 1850's, 1860's, 1870's, john bakewell, francis mcdonnell, thomas watson, lucy boyd, glenfern flats, charles laing, m. hennessy, smith and johnson, stables, gothic, stuccoed brick, gabled slate roofs, elaborate bargeboards, asymmetrical, cedar joinery, verandah, national trust of australia, centre for the arts and culture, artist-in-residence, glenfern writers centre, gothic revival, clustered chimneys, emma boyd, inkerman street, north caulfield, captain john boyd, artists, writers, st kilda east, national trust of australia (victoria), caulfield, amy ostberg, architects, m hennessy, doors, chimneys, martin boyd, arthur boyd, ostberg family

Wannon Falls were created by lava flows that surged upstream to the Wannon River. The cascade is a 30 metre vertical drop into a deep plunge pool. Downstream rapids wind their way around large blocks of basalt. The Wannon Falls have been painted by notable artists such as Nicholas Chevalier, Eugene von Guerard, Thomas Clark and Louis Buvelot.Black and white photograph of a waterfall cascade known as Wannon Falls.Verso in black ink handwriting 'Wannon Falls near Hamilton'chatham family archive, chatham, wannon falls, hamilton, waterfall

129 page book with soft beige, brown and black cover depicting three soldiers at the front during World War One. The book includes many photographs and artwork of Australians at the French front from November 1917 until the end of the war. Photographers include Frank Hurley, E. Brooks, H.F. Baldwin and G.H. Wilkins. Artists include Crozier, W.L. King, Alan Lewis, Lothian, John Davis, S. Perks, I. Picking, Daryl Lindsay, Alf Saville, L.H. Howie, Stuart Shaw, P. Huthnance, Stiggo, S. Perks, C.H. Gould, Ted Canon, Bernie Bragg, S. Shaw, Will Dyson, An introduction is written by W. Birdwood, France, 28 September 1917. A number of pages have written notes on them by someone who had obviously been on the French Front. (These pages have been scanned and uploaded onto Victorian Collections. non-fictionPhotographic history of Australians during World War Onechatham family collection, chatham, world war one, world war 1, world war i, france, trenches, front line, birdwood, mark ridgeay, harold williamson, flanders, poziers, somme, becourt, mouquet farm, rupert whiteley, ypres, montauban, field cooker, gueudecourt, band, bapaume, bullecourt, h. murray, hindernburg wire, messines, howitzer, w. holmes. canon, ted canon, hill 60, gas masks, siege battery, menin road, ambulance, dressing station, glencorse wood, prisoners, pigeons, australian commonwealth military forces, sgs, chatham - holmes family archive

The postcard was sent by Harry Holmes who was a member of the Australian Imperial Force based in Egypt at the time. He sent a number of postcards home to his family in Ascot, Victoria. Egypt was a major base for the AIF from December 1914. A number of campaigns were fought in this theatre. There were two campaigns involving the AIF. Note that not all the fighting was actually geographically in Egypt. (http://www.aif.adfa.edu.au:8888/about3.html) This photograph is significant because it was taken by a soldier (rather than an official war artist) and shows one of the daya to day activities experienced by Australian Soldiers in Egypt during World War One.A number of tents and soldiers in a dry landscape. They are Australian Soldiers At Metras, Egypt during World War One. Verso: 'Breaking Camp at Metras prior to making our departure from there on March 28th.'chatham family archive, chatham, holmes, harry holmes, world war, world war 1, world war one, world war i, metras, egypt

Harry Holmes and his battalion friends photographed aspects of their time on the Suez Canal, Egypt. Egypt was a major base for the AIF from December 1914. A number of campaigns were fought in this theatre. There were two campaigns involving the AIF. Note that not all the fighting was actually geographically in Egypt. (http://www.aif.adfa.edu.au:8888/about3.html) This photograph is significant because it was taken by a soldier (rather than an official war artist) and shows one of the day to day activities experienced by Australian Soldiers in Egypt during World War One.1) Four Australian soldiers during World War One in Egypt .2) Soldiers watch while two men 'fight' on a greasy pole during World War One .3) Australian soldiers stand at the grave of a German Officer at the Suez Canal, Egypt.2) Verso - "greasy Pole Fight" .3) verso: - Snap taken at grave of German officer killed in the first tussel (sic) with Turk at the Canalchatham family archive, chatham, holmes, world war, world war 1, world war i, world war one, egypt, cam williamson, greasy pole, ship, vessel, burial

In recognition of its fallen soldiers and Churchill's 50th birthday a service memorial was erected on a concrete plinth at the Churchill town plaza and used for the first time to mark the ANZAC centenary on Anzac Day 2015. Churchill never had a war memorial and received a grant from the Department of Veterans' Affairs six years ago to commission a sculpture with Latrobe City Council's support. It was decided the sculpture needed to recognise more than just the war effort, but service and volunteerism, considering Churchill was only founded in 1965. (http://www.latrobevalleyexpress.com.au/story/2816903/churchills-new-memorial/, accessed 01 may 2015) Sculptor Paul Jesse discussed the work in Churchill and District Community news, 18 December 2014: Some time ago CDCA commissioned a sculpture to be used as a Service Memorial to commemorate the fallen that have died in service of our community and country. Traditional memorials usually commemorate Armed Services personnel, but CDCA was of the opinion that a more inclusive view which included Emergency Services personnel, such as CFA, SES and Police, could be incorporated into the Churchill Memorial. Boolarra artist, Paul Jesse, who is accomplished in Ferro-Cement sculpture techniques, was commissioned to create a memorial that would cause people to reflect on the meaning of ‘service’ and ‘sacrifice’. The following is a description of the Churchill Service Memorial Sculpture written by the sculptor, Paul Jesse. “My sculpture is different from most War Memorial sculptures because it uses as its basis the reasons why people go into service or to war. One side of the sculpture is colourful and optimistic; its theme is home, family, community and the future. These themes are crafted by flow lines which are connected to the other side of the sculpture through the round hole and the Crosspiece. These lines can be seen as a multi-layered connection between the sides. On the “dark” side of the sculpture, the lines begin with a spiral of coloured mosaics. This spiral is representative of our service people. Its beginning can be seen on one level as their soul. The spiralling mosaics of them flow to the other side of the sculpture where they create the landscape and figures. These lines can also be seen as a range of connectors between the two sides, representing a flow of thoughts, love, fear, concern and dreams. They also represent physical communication such as letters and phone calls.” This ‘Service Memorial’ is located in the Churchill Plaza (adjacent to the Town Hall), along with four flagpoles, seating and garden beds. The Churchill Service Memorial has deliberately been designed as a thought-provoking public art work. It will complement the Art and Culture Pathway which links Switchback Gallery at the Federation University Campus to the Town Centre. We hope Churchill citizens will pause to view the Memorial, ponder its meaning, reflect on the service of others and commemorate the fallen. Colour photograph on an abstract Australia-shaped sculpture by Boolarra artist Paul Jesse. The abstract Australia-shaped sculpture is in stark contrast to the bronze-cast "fallen mate" or concrete cenotaph seen in many country towns. The photograph includes wreaths from the ANZAC centenary service on ANZAC Day 2015. churchill, churchill war memorial, paul jessie, anzac centenary, federation university, gippsland, art and culture pathway, world war

Alexander Wright was born on 25 August, 1898 in Smeaton He was the brother of musician Frank Wright. Alex Wright was killed whilst performing at the Birmingham Empire as the result of a German air Attack in October 1940. The theatre had a direct hit. According to Frank Wright Alex was a great impersonator with a unique range Bass - tenor with many accents (not unlike Peter Dawson) "AUSTRALIAN CARUSO Smeaton Boy's Fame Andre Navarre, who left Australia about three years ago to study opera in Europe, bids fair to take a place among the world's great tenors. A few months ago Navarre sang for Melba for the first time, and she immediately acclaimed him to be a finished artist, describing his voice as the nearest approach to the immortal Caruso she had ever heard, writes the Ballarat "Courier." Andre Navarre is, however, only a stage name adopted by Alexander Wright, a son of Mr. and Mrs. William. Wright, of Armstrong street North, Ballarat, and brother of Mr. Frank Wright and Mrs. William Ritchie, of that city. Born at smeaton 31 years ago, in what may be termed a musical atmosphere; Alex. Wright showed a definite desire to sing at a very early age, and in his boyhood figured as soloist at school concerts, etc. His youth was spent around Smeaton, working at home and at various farms in the district until he was about 19 years of age, when he secured a position at the Dunlop rubber works, Melbourne. Up to this period Wright had no vocal training whatever, but being the possessor of a good resonant baritone voice, was persuaded by some of his friends to "have a go at the stage.'' Securing a position in the chorus of "Maid of the Mountains," which was at that time showing at the Theatre Royal, he soon made his voice heard to advantage, and also commenced to take lessons from Signor Robottaro. It was about this time that Wright was invited by a fellow musician to a musical evening at which a member of Rigo's grand opera company, then performing at " The Playhouse," was also present. Hearing Wright sing, the musician immediately said : ' You're a fool to waste your time in a chorus with that voice. Rigo is looking for a singer like you for the role of 'Figaro' in 'Barber of Seville'." Alex, however, did not take the remark seriously, and it was only after the numerous persuasions of friends who obviously knew the real value of his voice that the modest young man was eventually induced to meet Rigo. The Italian maestro was so delighted with the voice that without hesitation he was given the principle role of "The Barber" to study. Many singers having previously been tried and rejected for the part, Wright was astonished at his success in being chosen, and awakened suddenly to the fact by the maestro that a world voice, if properly trained, would surely develop in the young artist, Alex at once settled down to study, and all day long in his boarding house at St. Kilda could be heard rehearsing his new role. In less than a month he had completely mastered the part, and on the opening night, in the exacting role of "The Barber," he was an outstanding success. Later, he toured Australia with many leading artists, including Elsa Stralia and Harry Lauder, and spent his last two years in Sydney, where he was engaged as soloist in the biggest picture house. Realising that a training in Italy and on the Continent was essential for a successful operatic singer, the young artist decided to go overseas to continue his studies. He did not leave Australia, however, before he gratuitously gave a concert in his little home town to the obvious delight of all his old friends, who flocked from all parts of the district to hear him. The hall was packed to overflowing , and so pleased was Alex with the tumultuous reception he received that he sang fewer than 20 songs. Once in Italy, he lost no time in placing himself under the tuition of Cottone, and it was at the studio of this maestro that he met Toti dal Monte, a former protege of the same master. Two years were spent in Italy, when "Navarre" learned to speak the Italian language fluently, and acquired a wide knowledge of the operas. He sang in Milan about a year ago, and was paid some glowing tributes by the Italian Press critics, who likened his voice to that of Caruso. From Italy he went to Paris, where he met John Brownlee and many other famous singers. The critics on the Continent are unanimous that Andre Navarre-the unassuming Smeaton boy, whom his schoolmates still affectionately call "Hock"--is destined to become one of the luminaries in music history. It is interesting to recall some facts concerning the remarkable family from which this artist springs. Four other members have won championship honors in the musical world. Mr. Frank Wright has the Australasian cornet championship to his credit ; Mr. Norman Wright, of Sydney, has won a tenor championship of New Zealand, and has recorded for the Columbia Gramophone Company ; Mrs. Wm. Ritchie ( formerly Miss Laura Wright) won the A.N.A. contralto championship in Melbourne; whilst the oldest member, Lydia (Mrs. C. Cane, now in N.Z.) won the violin championship at South Street when 17 years of age. Last year Mrs. and Mr. Wright celebrated their golden wedding. Both of the old folk are intensely musical, and it has been said that the voice of the mother, although entirely untrained, showed in her earlier days glimpses of the beautiful quality which made Melba famous. Andre Navarre does not propose leaving the Continent for some time. Recently he was offered a 12 months' contract to sing in London for £2500 but on the advice of Melba and his coach, it was refused on the grounds that yet another 12 months' French study was necessary to ensure absolute perfection. That "Alex " has lost none of his school-boy wit is evinced by his own jocular remark that he has "a top C sharp that will crack every window in the Sydney Town Hall!" (Horsham Times, 20 February 1931) "AUSTRALIAN KILLED An Australian, Alexander Wright, radio variety star, who toured Europe and Australia under the pseudonym of Navarre, was killed during a recent air raid in a Midland . town. His broth-er, Frank Wright, is musical director for the London County council."(Border Morning Mail, 22 Oct 1940) Black and white image of Smeaton born Alexander Wright whose professional name was Navarre "Prince of Mimics". alexander wright, alec wright, navarre

Burleigh Pottery (also known as Burgess & Leigh) is the name of a pottery manufacturer in Middleport, Stoke-on-Trent. The business specialises in traditionally shaped and patterned domestic earthenware of high quality. The business was established in 1851 at the Central Pottery in Burslem as Hulme and Booth. The pottery was taken over in 1862 by William Leigh and Frederick Rathbone Burgess, and traded from that date as Burgess & Leigh. The trademark "Burleigh", used from the 1930s, is a combination of the two names. Burgess and Leigh moved to different works, first in 1868 to the Hill Pottery in Burslem and then in 1889 to the present factory at Middleport, that at the time was regarded as a model pottery. Its scale and linear organisation was in contrast to other potteries constricted sites and haphazard layout of their working spaces. In 1887 Davenport Pottery was acquired by Burleigh primarily for its moulds. These historic moulds are still used today in the production of Burleigh ware. Leigh and Burgess died in 1889 and 1895 respectively, and were succeeded by their sons, Edmund Leigh and Richard Burgess. On Richard's death in 1912, the business passed entirely into the ownership of the Leigh family. In 1919 it became a private limited company, Burgess & Leigh Ltd. The years between the wars are often regarded as the company's "golden age", with a number of extremely talented designers and artists such as Harold Bennett, Charles Wilkes and Ernest Bailey. Perhaps the best known was Charlotte Rhead, who worked between 1926 and 1931, noted particularly for her work in tubelining. By 1939, the factory was employing over 500 people. The business took great pains, from as early as 1897, to build up a thriving export network, concentrating primarily on the Empire later becoming the Commonwealth and American markets, focusing later on Europe. After a run of financial difficulty, the company was sold in 1999 to the Dorling family, Rosemary and William Dorling, and traded as Burgess Dorling & Leigh. In 2010 it was acquired by Denby Holdings Ltd, the parent company of the Denby Pottery. A significant company producing pottery over many generations and exporting their products all over the world. Its designs are still in use today demonstrating the longevity and significance of the Burleigh Ware trade mark.Gravy Boat & plate-willow pattern Burleigh Ware "WILLOW" within a floral decoration & Made in England flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, willow pattern

Famous French artist Jean Baptiste Camille Corot, 1796-1875, was trained in the classical landscape style. His inspiration came from his travels around France and Italy. He developed a soft poetic or romantic style of work which became very popular. He had the skills to bring'light' into his paintings. The original oil on canvas painting by Corot is held at The National Gallery in the United Kingdom. It is titled 'Souvenir of a Journey to Coubron' and is one of twenty-seven of his works at the Gallery. Corot visited Coubon, east of Paris, many times. In 1873 during his stay there he sketched the scene that became the basis of this painting. This reproduction print was made by The Medici Society Ltd., founded in England 1908. The Society's aim was to make artwork affordable and available to the general public. The name Medici was chosen to honour the support and encouragement given to artists in the 15th century by Lorenzo de' Medici (1449 - 1492), known as Lorenzo the Magnificent, and his family. His profile is on the company's trademark. The Medici Society still produces Fine Art reproduction prints as well as selling original works. The print was framed by Westminster Art Gallery in Camperdown, London. The handwritten text on the back of the artwork adds some background to the artist: Corot was apprenticed to a Draper but changed to his profession at the age of 22 years. When he went from a poor artist to achieving wealth and fame he generously supported his less fortunate fellow artists. Corot found that the light and shade in a natural scene meant more to a landscape painter that what could be learned by following the principles of the academies. Corot was 51 years old before he sold his first picture. He though that he was the only artist that could really paint 'light'. The National Gallery, Victoria, has an original oil on canvas by Corot "the bent tree", created 1856-1860. It is in a similar style to this print "Souvenir of a Journey to Coubron", which was likely to have been painted around the same time.This high quality reproduction print was produced in the early-to-mid 1900;'s. This advancement in technology allowed everyday people to own and enjoy the fine art that was previously only accessible to the wealthy. The print is significant for its association with the famous 19th century artist Jean Baptiste Camille Corot.Print of a painting by Jean Baptiste Camille Corot, depicting a landscape with two buildings amongst trees and a boatman in the marshy foreground. The print is famed in carved timber with a cream matt, behind glass. there is an inscription on bottom right of print and further stamped and handwritten inscriptions of the reverse paper. The is a genuine Medici Society Fine Art reproduction print and was framed by Westminster Art Gallery.Original artwork painted and signed by artist "COROT" White sticker with"32" Reproduction print by the Medici Society, London Stamp "Westminster Art Gallery / 91 CAMBERWELL RD. / CAMBERWELL E.6." Text on Corot's history Underlined statement "GENUINE MEDICI PRINT "flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, jean-baptiste-camille corot, french artist, jean corot, camille corot, print, souvenir of a journey to coubron, coubron, 19th century artist, medici society, reproduction print, westminster art gallery, fine art

Family photographs from Edith Emma Watson's collection involving Watson, Smith, Yung and extended families. .1Army photo WW1 of Jack Rutherford 1914. Son of John and Edith Rutherford. .2 Edith Alice Rutherford's Memorial Card .3 Photo of Edith Alice Rutherford .4 Family photograph taken on the occasion of Clara Emma Yung,s 90th birthday in Murtoa. People in photograph: Back row L-R Peg Watson, Jack Watson, Harry Watson, Beryl Cox, Jeff Cox, Lance Yung. Front row :Alice Watson seated on the ground, Edith Watson nursing Alison Watson, Clara Emma Yung, Annie Bolte? nursing Helen Cox, ?, Grace Watson kneeling. Front row L-R: Alice Watson, Edie Watson nursing Alison Watson, Clara Yung, Clara's sister Annie Bolte ? nursing Helen Cox, Jeanette Watson, Grace Watson. Alf Watson was the photographer. .5 Edith (Alice) Watson - artist and dressmaker. Photo taken in the garden of the family home 47 Cromie Street Murtoa, Victoria.Two sepia photos, two black and white photos and one memorial card .1) Jack Rutherford 1914 .2) Black and gold Memorial Card for Edith Alice Rutherford .3) Alice Rutherford. Born 09/1876, died 20/10/1902 in childbirth, aged 26. Alice was the daughter of George Godlip Yung and Anna Christina Weller and a sister to eleven siblings. Her baby son "Little Joe" is buried with her in the Smythesdale Cemetery. .4) Clara Emma Yung 90th Birthday Family Group. .5) Edith Alice Watson.1)Front under photo - Handwritten -'Jack Rutherford 1914'; handwritten - 'Grandpa Watson's nephew'. Professional stamp - The Model Studios 328 Smith Street Collingwood. .3) Nadar Studio; Coat of Arms ; Photographer' Address .4) Verso: Handwritten - 'Grandma Yung's (Clara Emma's) 80th B'day; Alf took Photo; Chn. Alison (Watson) Jobe, Helen (Cox) Sampson .5) Edith 'Alice' Watson. garden. 47 Cromie St Murtoayung, rutherford, jack rutherford, watson, cox, alice watson, clara emma yung, alison watson, helen sampson, harry watson, john richard watson, family history, german, german australians

Neville Mirvane Bunning was born in Rockhampton, Queensland in 1902. He was home taught until 1916 and then was a boarder at Geelong Grammar School, Victoria until 1921. He then returned to Queensland and worked on the family property. During this time he built ceramic kilns and taught himself the required skills for ceramiic production. During the Depression he went to Sydney and set up an artist's studio. In 1934 he went to England and studied, wrote and did commission work. Achieving local success and had work acquired by the Victoria and Albert Museum. Neville returned to Australia and became a lecturer at East Sydney Technical School until the outbreak of the Second World War. He joined the RAAF. After the War he joined the staff of the Art School of the Ballarat School of Mines and Industries until his retirement in 1964. Neville Bunning formed the Ballarat Artist's Society, a group which sponsored art and invite guests to speak to students and the public of Ballarat. He wrote a weekly column in "The Courier", the local newspaper where he encouraged people to be more aware of the trends in art. His works were included in the 1988 Australian Bicentennial Exhibition. His sympathetic understanding of Aboriginal culture is recorded in a letter written in 1937 to the Victoria and Albert Museum. Neville Bunning continued painting during his retirement. His last major exhibition was held at the Golden Age Gallery in Ballarat in 1983. The sketch books cover a range of topics using pen, ink and watercolour.28 A3 sketch books, spiral boundneville bunning, queensland, geelong grammar school, ceramics, kilns, depression, sydney, england, commission work, victoria and albert museum, east sydney technical school, art school, ballarat school of mines and industries, ballarat artist's society, second world war, raaf, australian bicentennial exhibition, golden age gallery ballarat, painting

Dip pens emerged in the early 19th century, when they replaced quill pens. They were generally used prior to the development of fountain pens in the later 19th century, and are now mainly used in illustration, calligraphy, and comics. A nib pen usually consists of a metal nib with capillary channels like those of fountain pen nibs, mounted on a handle or holder, often made of wood. Other materials can be used for the holder, including bone, metal and plastic. Generally speaking, dip pens have no ink reservoir; therefore the user has to recharge the ink from an ink bowl or bottle in order to continue drawing or writing. Birmingham, England was home to many of the first dip pen manufacturers. John Mitchell pioneered mass production of steel pens in 1822; prior to that the quill pen had been the most common form of writing instrument. His brother William Mitchell later set up his own pen making business in St Paul's square. The Mitchell family is credited as being the first manufacturers to use machines to cut pen nibs, which greatly sped up the process. Germany 1842 began at the factory of Heintze & Blanckertz in Berlin By 1860 there were about 100 companies making steel nibs in Birmingham, but 12 large firms dominated the trade. Dip pens are rarely used now for regular writing, most commonly having been replaced by fountain pens, rollerball pens, or ballpoint pens. However, dip pens are still appreciated by artists, as they can make great differences between thick and thin lines, and generally write more smoothly than other types of pens. Dip pens are also preferred by calligraphers for fine writing. Richard Esterbrook was a Cornish Quaker from England who saw an opportunity in the United States to manufacture Steel Pens. In 1856 R.Esterbrook traveled to the US to set up shop as 'The Steel Pen Manufacturing Company' where Richard made these steel pens by hand using special tools and machines (mostly that Richard had to invent). In 1858 he was able to establish himself as the sole pen manufacturer in the USA and he changed the company name to 'The Esterbrook Steel Pen Mfg. Co.' The company settled down in Camden, New Jersey. Quality was a key factor in his success. His steel pens were versatile, long lasting, and came in many different styles to fit the varied writing styles of the public. Sadly, Richard Esterbrook didn't see the 'empire' his company was to become as he passed away in Atlanta on October 12th 1895 . in 1896 they started an Esterbrook branch in England to join the ranks of the other main pen manufactures in Birmingham . In 1912 the company had gotten so large that they erected a 5 story building, just to continue manufacturing pens. By 1920 the fountain pen was fast becoming more popular amongst people who were tired of 'dipping.' To meet this demand the company manufactured its first fountain pen. In 1930 the company sought less expensive means of manufacturing pens because gold and 'jewel' tips were too expensive and in this same year they began selling fountain pens in England . The Esterbrook Company began using the metal Iridium which they called 'Durachrome.' To meet the fountain pen demand the company reformed as 'The Esterbrook Hazel Pens Ltd.' In 1940 war had come to strike a blow at the Esterbrook company. On November 19th 1940 their England location was hit by an incendiary bomb destroying half of the location! To make matters worse, when putting out the fire using a human water bucket chain, someone accidentally grabbed a bucket of paraffin and set the place further ablaze. Oddly enough, the company was able to rebuild the structure during the war. However, the government had placed a stipulation that 50% of its capacity was to be used for government related purposes. In 1947 the company bought out John Mitchell and the American branch had already acquired Hazel Pen Co. The company re-formed again as 'The Esterbrook Pen Company.' This is the last company name the dip pen nibs were manufactured under. A box of Steel dipping nibs for writing pensOn Box; Photo of man / R. Esternbrook Co. / PENS / PROBATEsteel nibs, writing pens, education, schools, writing, caligraphy, artists, moorabbin, bentleigh, cheltenham, dip pens, inkwells, fountain pens, mitchell john, birmingham england, esternbrook richard, maple barbara

August Rietmann (1877-1951) of Lustdorf ,Switzerland, married Maria Frieda Oesschlager (2/21878- 22/7/1942) of Baden Baden, Germany on 6/8/1910 In 1915 August and his wife Frieda migrated to Melbourne, Victoria, Australia. They leased Box Cottage, Ormond in 1917 and raised two children, Stefanie (1918 -2006) and William (1920- 1997). 1935 August purchased the property and the family used the Cottage during the day and slept in the Front House. August was a monumental mason, potter and sculptor, and was employed at Corbens Ltd Clifton Hill, to carve war memorials in Victoria post WW1 c 1915-1922. During the 1920's August set up his own business in pressed cement making pot plants, columns,paving slabs and lampstands. He continued to carve headstones and figures and took contract work for Artists eg Paul Mountford. He built a workshop in the Barn and used the Cottage for plaster moulding. His son William joined the business and and the family continued to use the site after August died in 1951. Rietman's Landscaping Ltd moved to Bay Road Highett in 1953 and later to Carrum. The land, containing the Box Cottage, was sold to Lewis Timber Pty Ltd in 1970 and Mr Lewis proposed that Moorabbin City Council should preserve the heritage Cottage. In 1984 the Cottage was dismantled and reconstructed in the adjacent Joyce Park.The Rietman family is an example of the diverse nationalities that lived and worked productively in Moorabbin Shire 1871–1933 , the City of Moorabbin 1934-1994 and continues today in the Cities of Glen Eira, Kingston, Bayside, and Monash. August, a sculptor and stone mason, was employed by Corben Pty Ltd Clifton Hill to carve WW1 Memorials before establishing his own successful masonry business in the Box Cottage during the latter 1920s. After becoming interested in pressed cement casting, he took on apprentices (1930s Depression) and among his products were garden furniture, pots and also street lamp standards, some of which were installed in St Kilda Road. After August’s death in 1951, his family continued the business ‘Rietman’s Landscaping Ltd.’, at Highett and Carrum.a) Photograph Black & White August & Frieda Rietmann Wedding 6/8/1910 in Baden Baden ; b) Passport Photograph August Rietmann 1915; c) Photograph Frieda Rietmann 1915; d) Document Wedding Certificate August & Frieda Rietmann Baden Baden 1910a) b) c) Handwritten information d) Official Document in Germanrietmann august, rietman august, rietmann frieda, rietman frieda, stonnington city town hall, war memorials, world war 1 1914-1918, rietman stefanie, rennick stefanie, francis stefanie, rietman william, rietman ray, mountford paul, malvern city town hall,box cottage museum ormond, box william, box elizabeth, joyce park ormond, rietman's landscaping pty ltd, bay road highett, macrobertson pty ltd, coleraine soldier memorial 1921,

August Rietmann (1877-1951) of Lustdorf ,Switzerland, married Maria Frieda Oesschlager (2/21878- 22/7/1942) of Baden Baden, Germany on 6/8/1910 In 1915 August and his wife Frieda migrated to Melbourne, Victoria, Australia. They leased Box Cottage, Ormond in 1917 and raised two children, Stefanie (1918 -2006) and William (1920- 1997). 1935 August purchased the property and the family used the Cottage during the day and slept in the Front House. August was a monumental mason, potter and sculptor, and was employed at Corbens Ltd Clifton Hill, to carve war memorials in Victoria post WW1 c 1915-1922. During the 1920's August set up his own business in pressed cement making pot plants, columns,paving slabs and lampstands. He continued to carve headstones and figures and took contract work for Artists eg Paul Mountford. He built a workshop in the Barn and used the Cottage for plaster moulding. His son William joined the business and and the family continued to use the site after August died in 1951. Rietmann Landscaping Ltd moved to Bay Road Highett in 1953 and later to Carrum. The land, containing the Box Cottage, was sold to Lewis Timber Pty Ltd in 1970 and Mr Lewis proposed that Moorabbin City Council should preserve the heritage Cottage. In 1984 the Cottage was dismantled and reconstructed in the adjacent Joyce Park. The Rietman family is an example of the diverse nationalities that lived and worked productively in Moorabbin Shire 1871–1933 , the City of Moorabbin 1934-1994 and continues today in the Cities of Glen Eira, Kingston, Bayside, and Monash. August, a sculptor and stone mason, was employed by Corben Pty Ltd Clifton Hill to carve WW1 Memorials before establishing his own successful masonry business in the Box Cottage during the latter 1920s. After becoming interested in pressed cement casting, he took on apprentices (1930s Depression) and among his products were garden furniture, pots and also street lamp standards, some of which were installed in St Kilda Road. After August’s death in 1951, his family continued the business ‘Rietman’s Landscaping Ltd.’, at Highett and Carrum.Documents a) Census 1914 Household Register Lustdorf, Switzerland; b) Census 1915 Household Register Lustdorf, Switzerland; c) Swiss Confederation Citizen ship I.D Pass Frieda Rietman 4/8/1915;Printed Government Documents in Swiss Language lustdorf switzerland, rietmann august, rietman august, rietmann frieda, rietman frieda, stonnington city town hall, war memorials, world war 1 1914-1918, rietman stefanie, rennick stefanie, francis stefanie, rietman william, rietman ray, mountford paul, malvern city town hall,box cottage museum ormond, box william, box elizabeth, joyce park ormond, rietman's landscaping pty ltd, bay road highett, macrobertson pty ltd, coleraine soldier memorial 1921,, box cottage museum ormond