The work was installed at the cnr of Bridgport St and the Midland Hwy, adjacent to the Daylesford Library, in 1999. The work was commissioned by the Friends of the Library, Daylesford and funded by Arts Victoria and the Australia Council. Poemscape: a physical anthology is a much loved site specific installation work commissioned by the Friends of the Library, funded by Arts Victoria and the Australia Council, made by Daylesford resident Patrick Jones in response to his interests in the provision of public food, the development of locavore sensibilities and the rethinking of economies of material accountability and regard. Patrick Jones is a poet and non-fiction writer, a visual artist and ecological thinker. In 2013 Patrick Jones was awarded the degree of Doctor in Creative Arts from the University of Western Sydney for his thesis, 'Walking for food. Regaining permapoesis.'Public Art Environmental installation work installed near the Daylesford Library. Poemscape: a physical anthology comprises of 19 apple trees (18 Fuji apple trees and 1 Granny Smith apple tree) planted on the corner of Bridgport St and the Midland Hwy, adjacent to the library. Adjacent to each tree is a hardwood plinth at topped with a laser engraved brass plate that has been screwed in place. The text of each plate is by 19 poets including the artist and Daylesford resident Patrick Jones, local poets Peter O'Mara, Toby Sime and Robert Campbell, Australian poets Geoff Page, Kath Walker, D T Sime, Judith Wright, Ramona Barry, Jack Davis, Robert Campbell, Christopher Brennan and International Poets Dylan Thomas - Welsh, Sylvia Plath - American, Choku Kanai - Japanese, William Blake - English, Duo Duo - Chinese (translated from the Chinese by John Rosenwald), Yannis Ritsos- Greek (translated from the Greek by Kimon Friar & Kostas Myrsiades), Michel Deguy - French (translated from the French by Clayton Eshleman), Seamus Heaney - Irish and Rainer Maria Rilke - German. The title plate adjacent to the Granny Smith apple tree is by the artist/poet - Patrick Jones. See photographs with images of each of the laser engraved brass plates. permapoesis, artist as family, patrick jones, william blake, kath walker, chaku kanai, peter o'mara, sylvia plath, dylan thomas, geoff page, duo duo, d.t. sime, judith wright, yannis ritsos, michel deguy, ramona barry, seamus heaney, jack davis, rainer maria rilke, robert campbell, christopher brennan, hepburn shire, daylesford library, public art, installation art, environmental art, hepburn shire public art collection

Judy WATSON (1959- ) Born Mundubbera, Queensland. Waanyi people Judy Watson lives and works in Brisbane, Queensland. She is an Indigenous artist whose matrilineal family is from country in North West Queensland. She co-represented Australia in the 1997 Venice Biennale and won the Moet & Chandon Fellowship in 1995. judy watson, gippsland art collection

Photograph of Wilhelm Kuebler and his second family. Wilhelm as an internee in Camp 3 at Rushworth during WW2.Black and white photograph of a man, woman and children posing in front of a backdrop shrubs. Man and woman and two children sitting, two boys and girl standing. Photograph has been laminated.Wilhelm Kuebler the artist, with his second family, children of both marriages, in Waldheim, Palestine. Computer image created by Horst Blaich, Bayswater 3153. Tel.: (03) 9720 2658 October 2001 round emblem underneath with side on head. Around the edge: Albert Blaich Family Archive 1970-2000wilhelm kuebler, camp 3 rushworth

Fanny Flinn married artist Walter Withers in London, England in 1887/1888. Margery Pitt Withers was their daughter who was born January 13, 1890 at Handsworth, Warwickshire, England during a visit by her mother Fanny to her parents. Walter Withers became associated with the Heidelberg School of Artists. Withers and his family lived in Eltham from 1903. Many items in this collection have suffered from significant water damage and black mouldjohn withers collection, heidelberg, 1900, fanny withers (nee flinn), scan - 3¼ × 4¼ inch quarter-plate glass neg, margery pitt withers

Folder includes copy of front cover of This Week in Melbourne: The guide to the best in Melbourne, No. 385, October 1- October 7, 1966 featuring photo of gallery (courtesy Peter Bassett-Smith), page from Diamond Valley News. 3 November 1970 including brief death notice and a separate entry under 'Death of Artist'. Photo of Ian Hassall's family home in England, Photo of Ian Hassall's father, John Dingwall Hassall and John Dingwall Hassall Navy record.ian john dingwall hassall, john dingwall hassall, hassalls roadside gallery

Boroondara Cemetery, established in 1858, is within an unusual triangular reserve bounded by High Street, Park Hill Road and Victoria Park, Kew. By the 1890s, the Boroondara Cemetery was a popular destination for visitors and locals admiring the beauty of the grounds and the splendid monuments. The Boroondara Cemetery is of historical significance for the graves, monuments and epitaphs of a number of individuals whose activities have played a major part in Australia's history. They include the Henty family, artists Louis Buvelot and Charles Nuttall, businessmen John Halfey and publisher David Syme, artist and diarist Georgiana McCrae, actress Nellie Stewart and architect and designer of the Boroondara and Melbourne General Cemeteries, Albert Purchas.Walking tour led by Kew Historical Society members for members of the Royal Historical Society of Victoria in 1977. The photograph shows members of both parties assembled at a grave in the Cemetery. The photograph was one of six taken by KHS member Stewart West on that occasion, and subsequently donated by him to the collection by him.Reverse: "Front row in dark coat and glasses - Mrs Mills, With dark glasses reading - Mrs Ekberg (KHS member); Second from right Mr Slattery then president of Society; Far left Miss B Mackie (KHS member)" boroondara general cemetery, kew cemetery, walking tours

Boroondara Cemetery, established in 1858, is within an unusual triangular reserve bounded by High Street, Park Hill Road and Victoria Park, Kew. By the 1890s, the Boroondara Cemetery was a popular destination for visitors and locals admiring the beauty of the grounds and the splendid monuments. The Boroondara Cemetery is of historical significance for the graves, monuments and epitaphs of a number of individuals whose activities have played a major part in Australia's history. They include the Henty family, artists Louis Buvelot and Charles Nuttall, businessmen John Halfey and publisher David Syme, artist and diarist Georgiana McCrae, actress Nellie Stewart and architect and designer of the Boroondara and Melbourne General Cemeteries, Albert Purchas.Walking tour led by Kew Historical Society members for members of the Royal Historical Society of Victoria in 1977. The photograph shows a Kew youth placing a sprig of Rosemary on Ellen Quick's grave. The photograph was one of six taken by KHS member Stewart West on that occasion, and subsequently donated by him to the collection by him.Reverse: "Kew youth placing a sprig of rosemary on grave of Ellen Quick nee Derrick who was the first burial on 12/3/1859. Her family Derricks were early Kew Landowners." boroondara general cemetery, kew cemetery, walking tours, ellen quick, dannock family, kew pioneers

This book gives details on the lives of the artists Rex Battarbee and Albert Namatjira. It is written by Martin Edmonds. The book explores the relationship between the two artists and the effect on each other of artistic philosophies and techniques, described as each being ‘a catalyst and a primer for the other, each shimmering alongside the other’. This book is of considerable interest as Rex Battarbee was born and reared in Warrnambool and his older sister Florinda was his first art teacher and an important influence in his artistic development. She was also a talented artist and a well-known art teacher in Warrnambool and many of her works survive. The Warrnambool Art Gallery holds works by both Rex and Florinda Battarbee, with the works of the latter belonging to the Warrnambool and District Historical Society. The Battarbee family members were prominent in Warrnambool business and artistic circles at the end of the 19th century and the beginning of the 20th century. Rex’s father was a shopkeeper and had a bacon and ham curing business and the family lived in East Warrnambool at ‘Skiddaw’. This is a soft cover book of 342 pages. It tells the stories of the artists Rex Battarbee and Albert Namatjira. It contains a Contents page, an Introduction, ten chapters, a Note on Sources and Acknowledgements. The front cover has a black and white photograph of Battarbee and Namatjira. The text includes several black and white photographs. rex battarbee, albert namatjira, florinda battarbee, history of australian art, history of warrnambool, warrnambool art gallery

The following extract written by Karen Tyers Warrnambool Family history group explains the journey and background of the Warrnambool Pioneer Board. Warrnambool is fortunate to have a photographic record of some of its pioneers. They are commemorated on the Pioneers’ Board. The Pioneers’ Board with its elaborate frame measures approximately 2 metres by 3 metres and holds 204 photographs of Warrnambool’s early pioneers. In 1907 Edward Vidler, secretary of the Warrnambool & District Progress League and Chamber of Commerce and Industry, invited descendants of those who arrived in Warrnambool before 1860 to send photographs of their pioneer ancestors to commemorate the Diamond Jubilee of Warrnambool’s foundation in 1847. A charge of £1 for each photograph was set. Lillian Foyle of Foyle’s photographic studio, was engaged to colour the photographs and undertake the associated artwork. By December 1907 the honour board was on exhibition in Bernard’s Gallery, Melbourne. Unfortunately Vidler left Warrnambool in 1907 with the honour board expenses unpaid. The Progress League refused to take responsibility for the debt and the honour board remained with Foyle’s Studio for 17 years. In 1922 subscriptions were called for and £43 16s 6d was acknowledged. After a final determined effort was made in 1924, the £100 debt was collected and Charles Foyle, Lillian’s brother, accepted settlement of the debt. On 2 May 1924 the honour board was moved from Foyle’s Studio to the Art Gallery. For many years the honour board was in the entrance passage to the public library. After the library was demolished in 1975 the pictures were removed to the Art Gallery where it was restored by the Director of the Art Gallery, Jack Welsh. The board was later stored in an empty front room at Murweh and the dismantled frame stored in an outbuilding. By 1982 the honour board was in the foyer of the City Council offices. During the renovations of the interior of the council offices in 1997 the honour board was moved to the library where it remained until moved to HeritageWorks in March 2014. For a full list of names go to http://www.warrnamboolhistory.org.au/warrnambool-history/pioneers-board/ The Warrnambool pioneer Board is one of those rare items which can claim significance on most if not all of the primary and comparative significance criteria. As a collection of early pioneers in the district it provides a valuable resource for historians and researchers. It gives light to a social scene in the district much of which can be verified from diaries and other items held by the historical society and also available on websites such as Trove. It has relevance to this day with many family historians enquiring of people included on the board. The collation of the board is a story of great interest in itself. While there are images of 204 men on the board the only reference to a woman is Lillian Foyle the artist who was responsible for much of the artistic work on the board. It compares well in size and quality with a number of montages, and collations of images from around the state of Victoria. It is by no means a complete list of pioneers of the district but there are many well- known ones included. They come from a wide range of backgrounds and as such presents a cross section of our earliest settlers in the district from 1840's to 1860’s.Cardboard folder with black and grey mottled cover with 3 metal studs along spine and white paper label with the word negative printed in black on front cover. Inside is a printed index of pioneers with reference relating to board number and negative number. There are three loose strips of negatives and 20 pages with pockets to hold strips of negatives. Up to page 13 have negatives strips inserted. There are 15 large and one small print of some of the pioneers from the board.This negative album was prepared by John A Welsh MBE JP Dip M Eng Director Warrnambool Art Gallery 1/7/1975 to 11/12/1977.There are a number of grey lead notations possibly corrections against some of the names in the index.warrnambool, warrnambool pioneer board, jack welsh, warrnambool art gallery, pioneers of warrnambool, foyles photography, lillian foyle, bernard framers, w mcaree,

Dame Nellie Melba, born Helen Porter Mitchell (1861-1931), was the first Australian to gain international fame as an opera singer and one of the best-known singers in late Victorian times. She took the name ‘Melba’ from her home town, Melbourne. She sang in Warrnambool on at least two occasions, staying at local homes, including ‘Summer Hill’, belonging to the Murray family and ‘Lyndoch’ as the guest of Florence Lake. In 1927 she sang at the Warrnambool Town Hall with three other assisting artists and this programme records that event. The Warnambool and District Historical Society has an evening bag that was given by Nellie Melba to Miss O’Donnell, a maid at ‘Lyndoch’ at that time. This programme is of considerable significance as it is a memento of the occasion in 1927 when the famous Australian opera singer sang at the Warrnambool Town Hall during her farewell tour. This is a cream-coloured sheet of paper folded into two to make four pages. The front cover has a decorative border and blue printing and a Warrnambool & District Historical Society stamp and the back cover has an advertisement. The middle pages contain blue printing. The folds are torn in parts.Dame Nellie Melba's Farewell Tourdame nellie melba, history of warrnambool, lyndoch, melba farewell tour

This is a paper back book with a plasticized cove which has an image of Flagstaff Hill Maritime Village (reproduction of Daniel Clarke’s Studio) in the background in muted colours, photographs and paintings of Thomas and Susan Lawson in colour on the front cover and a photograph of and information on the author on the back. It has 37 pages, a Lawson family tree at the back and an introduction by Helen Jones. The book included printed material, black and white photographs and illustrative material.non-fictionFamily history of Thomas Lawson (1831-1907) and his descendants lawson family, warrnambool, cobden, camperdown

This book was given as a prize to William Giles in the late 19th century. It came from the Skiddaw Sunday (or Sabbath) School. Skiddaw was the home of the Batterbee family and was situated on the old Princes Highway in East Warrnambool near Simpson Street. The corner here was known as ‘Batterbees Corner’ and there is a Skiddaw Street in the locality nearby. George Batterbee had a ham and bacon business in Warrnambool. For 36 years his wife, Mary, conducted a Sunday School at Skiddaw (from 1882 to 1918). This Sunday School was under the auspices of St. John’s Presbyterian Church in Warrnambool. Mrs Batterbee was assisted by her daughter Florinda and other teachers. Florinda and her brother Rex were both artists of note. William Giles and his family lived on the Allansford Road. The Logan family farm was in the vicinity of where Logans Beach is today. This book, though tattered and stained, is most important as the only item we have in our collection that is associated with the Skiddaw Sunday School. Situated in a family home, this Presbyterian-sponsored Sunday School operated for 36 years under the direction of Mary Batterbee. This is a book of 32 pages with the cover and perhaps some of the pages missing. It has been stapled but the staples have been removed. The book has large print and illustrations on all the pages. The illustrations have been coloured in by hand. The first page is loose and scribbled on. The pages are very stained and torn in places. The inscription is handwritten in black ink.‘Skiddaw S. School, Second Prize, Awarded to William Giles for diligence in class, S. Logan, Teacher’. skiddaw, east warrnambool, batterbee family, giles family, logan family, history of warrnambool

This is a soft cover book of 100 pages. The cover has a white background with a colour sketch of the Flagstaff Hill Maritime Village Stella Maris Tea Rooms on the front cover and a colour photograph of a Flagstaff Hill panorama on the back cover. The book contains an introduction, some information related to food, cooking and diet, recipes from the past and present, some local historical material and some information on the artists whose work is featured in the book. Many colour sketches and photographs are scattered throughout the text. The book is bound with plastic spiral rings and the front is covered with a sheet of clear plastic. non-fictionA cookbook featuring old family recipes.stella maris tea rooms, warrnambool, flagstaff hill maritime village, history of warrnambool, cookbook

This is a catalogue with a reinforced plastic-covered cover. It has 87 pages with illustrations and photographs. The sepia-coloured cover features a portion of a James Meek work of calligraphy.james meek, the inimitable mr meek, james meek artist

This photograph was donated by the Bread and Cheese Club, Melbourne but it is not know to what group or institution it was originally given. It is a copy of a well-known photograph of John Feltham Archibald, taken about 1910 when he was obsessed with all things French and was known at the time as Jules Francois Archibald. John Archibald (1856-1919) was born at Kildare near Geelong (so is not a native of the Warrnambool district) but he lived for some time in Warrnambool with his family. He began his working life with the Warrnambool Examiner newspaper and its successor, the Warrnambool Standard before going to Melbourne. In N.S.W. in 1880, he established with John Haynes, the Sydney Bulletin , a journal that became the most influential one of its day, promoting nationalism and fostering Australian writers and poets. He left legacies to establish the Archibald Prize for artists and the Archibald Fountain in Sydney. This photograph of John Archibald is of some interest though it is a widely-known one and is not original. It is kept because John Archibald, a national figure in Australian History of some importance, spent his school years in Warrnambool in the 1860s and 70s where his father was a local policeman. He went to Henry Kemmis’ Warrnambool Grammar School and wrote about his time here in later years, He also commenced his career as a journalist with the Warrnambool Examiner newspaper and later the Warrnambool Standard newspaper before going to Melbourne. This is a black and white photograph of John Archibald, mounted on cardboard. It has been taken out of its original frame and the typed card with the original frame has been removed and attached to the back of the photograph.The typed card reads: ‘J.F.Archibald, A Native of Warrnambool District. Founder of the ‘Bulletin’ School of Australian Literature, Presented by the Bread and Cheese Club, Melbourne’ (note that this contains inaccurate information in that John Archibald was not a native of the Warrnambool district)warrnambool, archibald family, j f archibald, john archibald, john feltham archibald

This album contains a collection of family photos, greeting cards and hand drawn floral emblems. Among the photographs are two which have details on them: a young girl named Margaret Clarke aged 8 1870 and another of Charles Alexander Clarke. The photographers are from many places including Britain, Melbourne, Portland and a number by Daniel Clarke of Warrnambool. Daniel Clarke was one of Warrnambool’s more important photographers, operating a business for thirty years in the town. He also worked as an artist and taught art in local schools. He painted a number of versions of Tower Hill. He died in 1918 at the age of 91.This album shows a collection of photographs and cards which were important to families in the later part of the 19th century. It has artistic and historical significance, with the photographs in particular depicting many different styles of clothing and household details of the time. Brown leather with a figured pattern and gold detail. Bent metal clasp Back cover in cross-hatched pattern. Spine has 5 horizontal lines. Edges of pages are edged in gold. Pale grey water wave patterned paper inside front and back covers. Pages inside are varied with some having coloured floral embellishments while others have pockets to hold from 1 to 4 photographs or card. One photograph of young boy has Charles Alexander Clarke written on bottom in black pen. A card with illustration of honeysuckle on front, has With Love to Mrs. Smith from Isabel,warrnambool, history of warrnambool, margaret clarke aged 8 1870, charles alexander clarke 1870, daniel clarke photographer

The Bogong High Plains have many Alpine wild flowers unique to the area.The SECV appointed artists to draw the wild flowers in the Victorian Alps where they were constructing the Kiewa Hydro Electric Scheme.32 illustrated wild flowers each mounted on blue/grey particle board with Botanical and Family name and common name printed underneathalpine wildflowers, alison m. ashby, flora illustrations

This photograph frame with its decorative floral and Greek patterned boarder was typical of the early 1900's when photography was in the hands of the professional artist. It was in a period before the "instant" photo and required a dark room and processing liquids for development. It was therefor in a time when photographs were "shot" only at important events be they family or public occasions.This photograph frame holds and protects, part of a very significant occasion, the 90th birthday photograph of the matriarch of one of the founding families within the Kiewa Valley. The frame therefore has historical significance.This gold painted aluminium photograph frame has a glass (broken) pane within a formed inlay and two swivel clip toggles. These are installed to allow the photograph to be securely positioned within the correct alignment of the the frame.The metal front plate has seven rivets holding the cloth covered cardboard back frame to the metal front cover. The front part of the frame has sculptured wild flowers and is boarded with a Greek "key" pattern. Half way on the back panel is a rectangular swiveled stabiliser flap. See also KVHS 0093.photograph frame early 1900's, the roper family

This photograph frame with its decorative dragon and bamboo shoots was typical of the early 1900's when photography was in the hands of the professional artist. It was in a period before the "instant" photo and required a dark room and processing liquids for development. It was therefor in a time when photographs were "shot" only at important events, be they family or public occasions. Good quality picture frames such as this item were a part of the "reverence" of photographs per se.This photograph frame holds and protects, part of a very significant occasion, the 90th birthday photograph of the matriarch of one of the founding families within the Kiewa Valley. The frame therefore has historical significance.This silver painted aluminium photograph frame has a glass front pane within a formed inlay and a formed inlay at the back. The anchor points, at the back, for securing toggles are in place but not the toggles. These toggles were installed to allow the photograph to be securely positioned within the correct alignment of the the frame.The metal front plate has seven rivets holding the cloth covered cardboard back frame to the metal front cover. The front part of the frame has sculptured dragon and wild bamboo shoots and is boarded with a plain border pattern. The back panel to secure the photo and hold the stabiliser flap is missing. See also KVHS 0092 for a more complete frame.photograph frame early 1900's, the roper family

This photograph was typical of the mid 1900's when photography was in the hands of the professional artist for important events, be they family or public occasions. This photograph holds and protects from ageing, part of a very significant occasion, the 90th birthday photograph of the matriarch Claire Roper, one of the founding grazier families from Tawonga within the Kiewa Valley This photograph therefore hold a very historical significance and has good exhibition value. This black and white photograph was professionally taken on Kodak paper in the time of the Australian Melbourne Olympics 1956. See KVHS 0092 for frame.On back of photograph "KODAK official sponsor of the Olympic Games" Underneath the symbolic rings of the Olympic Federationphotograph of early 1900's kiewa valley pioneer, the roper family, claire roper, pioneer family, cattle, bogong high plains

These medals are part of the Lawless Collection. The Lawless family lived in Orbost from 1907 - c 1920. John Francis Lawless had a saddlery shop. He died at an early age - 47 years - June 7 1912, leaving his wife, Elizabeth and seven children. The eldest son, Victor Rowland lawless volunteered for serv ice in WW1 but did not leave Australia because of illness. The second son, Edward Vincent Lawless (b 1895 d 1917) worked for McCoy & Co. in Orbost, coachbuilding, undertakers, general blacksmiths and farriers, prior to enlisting in WW!. He was trained as a signaller and was sent to France where he was killed in action on 9.10.1917. Elizabeth Lawless worked as a ladies' nurse (midwife) in Orbost prior to leaving the district in 1920. She lived to 6.6.1975 aged 104 years. The British War Medal was a medal given to people who had fought in the First World War. The Victory Medal (also called the Inter-Allied Victory Medal) is a First World War campaign medal of Britain and her then colonies and dominions which included Australia.These personal documents, photographs, medals and books give an insight into the human element of World War 1 ensuring that those who were part of the Orbost community and died while playing a vital role during this time are remembered.Two medals in recognition of service during WW1. 1846.3 is a silver medal a WW1 1914-18 British War Medal. Obverse: Bare head of King George V facing left; text around, 'GEORGIVS V BRITT: OMN: REX ET IND: IMP:'; the artist's initials 'B.M.' (Bertram MacKennal) are on the neck truncation. Reverse: Naked figure of St. George on horseback advancing right trampling a shield bearing an eagle design and a skull and crossbone. It has a blue/white/orange striped ribbon attached. 1846.4 is a gold coloured medal. The obverse in the medal shows the winged, full-length, full-front, figure of 'Victory' with her left arm extended and holding a palm branch in her right hand. The reverse has the words ‘THE GREAT / WAR FOR / CIVILISATION / 1914-1919' in four lines, all surrounded by a laurel wreath. It has a purple/blue/green/yellow and orange striped ribbon attached.medals ww1 lawless-family

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

Family photographs from Edith Emma Watson's collection involving Watson, Smith, Yung and extended families. .1 Army photo WW1 of Jack Rutherford 1914. Florence (bYung) and Tom 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. Jack Rutherford was born in 1892 at Smythesdale. Killed in action 12/10/1917 in Belgium.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 {inscription incorrect; should be (Grandma Yung'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

The first issue of the school magazine The Minervan Nov 1913 records the unveiling of the portrait. See file attached. William Henderson served as the school's first President for many years. Artist James Swinton Diston (1857 - 1940) created the portrait for the family in 1900. It was gifted to the school at an unveiling ceremony held 19 August 1913. The portrait was displayed in the school for many years before being transferred to St Andrews Kirk. It was located in a shed at St Andrews around 1990 and returned to the College per favour of old collegian Clark Chester, former Captain of Henderson House. Ornate gold framed portrait in oils.william-henderson, clark-chester, henderson-house, ballarat-college, st-andrews-kirk

Small Christmas card produced for the Australian Comforts Fund, Christmas 1918. Christmas & New Years Greetings, 1918-19, with scenes of battles at Villers-Brettonneux and Hamel, and views of a captured tank and a 14cm. gun. Produced by Raphael Tuck & Sons, Publishers to the King and Queen.These cards were sent by service personal serving overseas to family members back home.l Sent by J.L.Mcintre while on active service in France to his loved ones back home.Christmas card with blue and black lettering Australian Comforts Fund Christmas & New Years Greetings, 1918-19, Produced by Raphael Tuck & Sons, Publishers to the King and Queen. The card depicts four scenes from the First World War: Australians Advancing from Villers-Brettonneux August 8th 1918, A German tank captured by the Australians near Villers-Brettonneux, Capture of Hamel Village July 4th 1918 by Australians assisted by a detachment of Americans, Captured by The Australians a 14 C.M. German Naval Gun intact with its Train & Equipment.Australian Advancing from Vlllers-Brettonneux.August 8th 1918. From Original specially painted for the Australian Comforts Fund by Captain Will Longstaff.A.I.F.War Artist.

Artist Vida Pearson of Ross Creek; given to school by the family of Old Collegian Andrew Craig Noonan. Andrew attended the school 1983 - 1989. Works titled 'Proteaceae' and Butterflies and Angels'. Modern ArtGift of the family of Andrew Craig Noonanlarge framed works of art; hand coloured linocuthandwritten on reverse: In loving memory of / Andrew Craig Noonan (died 21/7/1992) / and in grateful and sincere thanks / for the love, care and support / given to us by the staff of / Ballarat and Clarendon College / Ron, Pam and Damien 20/2/1993andrew craig noonan, wildlife art society of australasia, wildlife artist of the year

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, which 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 many 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, and 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 Denby Pottery.Burleigh was 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 with curved handle, and a matching saucer. The set has an overall rectangular design, with blue and white willow pattern on both pieces. The edges of the boat and saucer have gold line trim. The undersides of both pieces have a blue maker's mark stamp. The Willow pattern Burleigh Ware pieces were made in England.Burleigh Ware: "WILLOW" within a floral decoration, and "Made in England"flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, willow pattern, willow ware, burleigh ware, made in england, blue and white china, gravy boat, gravy jug, gravy saucer, serving ware, domestic object, matching jug and saucer, oriental design, burleigh pottery, burgess & leigh

Michael Forrester b.1866 Branxholme,Victoria,d.1945 age 79 years. Buried Quambatook,he was the 8th of 10 children of parents, Pat and Johanna Forrester, both buried at Wycheproof. A bachelor farmer, Michael worked on the selection property at East Towaninnie.He and his unmarried sister, Ellen Forrester, inherited some of the parents' land, sold it and lived out their final years at Quambatook. Typical of many early local residents,Michael was born into a large family and did not move far from his beginnings. Farming and family was his life. This photograph is of Michael Forrester a local member of the community who spent most of his adult life in the area.Large glass framed 'Heirloom' photo reproduced from a 1940 photo- ornate and oval framed.Coloured formal photo with bronze attachment with words, "portrayed by the artist in a manner and quality befitting work to be passed on to future genertions as a priceless heirloom.Workmanship and materials guaranteed." Heirloom Product Style 37. F.L. Wirth Art Director. Price 5 Guineas.michael forester, branxholme