This photo was taken in c1910. ‘Warlingham’ has many typical Victorian features and has been restored and extended. The first owner was Thomas Kennedy Vernon Coburn, a solicitor. His wife was Sara Ethelwyn (Winnie) Cornell; they married on 26 March 1890. They had a large family and their eldest son (Arthur Wheeler Coburn) was born at 'Wannacul' Surrey Hills on 11 January 1891. The Coburns seem to have moved often and Thomas was declared insolvent in 1894, in part it would seem as a result of the land crash. The next owner was George Lumsden, grocer who is believed to have been there 1892-1896. He was married to Emma Louise Sim. During the years c1913-1919 Mr William Joseph Trenerry (manufacturer) and his wife Elsie (nee Capon) lived here. In the 1919 electoral roll the house name is given as 'Mosman', which may be a reference to Elsie Trenerry's origins; she came from Sydney. See also SHP1927 and SHP1384. A black and white photograph of a Victorian style house with lacework around the verandah. There is a lady and young girl with plaits wearing her school uniform standing in front of the house. Two young boys are watching and are standing on the verandah.clothing and dress, warlingham, guildford road, surrey hills, house names, mr william joseph trenerry, mrs elsie trenerry, miss elsie capon, mr thomas coburn, mr thomas kennedy vernon coburn, mr arthur wheeler coburn, mrs sara ethelwyn coburn, mrs wynnie coburn, miss sara ethelwyn cornell, mr george lumsden, miss emma louise sim, mrs emma louise lumsden

The simple cottagy handpainted designs of Louse Powell's on Wedgewood creamware was popular in the 1920s. This is one of a set of four (possibly originally six) Louisa Powell decorated Wedgewood cups and saucers. Louise Powell was the grand-daughter of Emile Lessor.Wedgwood sought to offer a new product range which, after its success, lead to she and her husband receiving money towards a studio to work, two assistants in London and a studio in the Wedgwood factory. Their brief was to developed the art wares within the company. Their style was sought by Wedgwood to mass-produce works which coincided with the arts and crafts movement. A lot of Louise's work was individual as she preferred calligraphic and heraldic motifs. Most of her designs were hand painted and a lot of her patterns were derived from nature in a calligraphic fashion.Underglaze printed Wedgewood label to base with Louisa Powell cypher. wedgewood, louise powell, creamware, cottage designs., emile lessor, porcelain

A DECK GALLERY FOR JAPANESE PRINTS. A unique exhibition of Japanese Prints was opened yesterday on Japanese ship Kamo Maru.These pictures are the property of the captain of the Kamo Maru Captain T. Takahata, and are displayed in a specially arranged gallery on the deck of the ship now berthed at No. 13 Victoria Dock. A picture on board yesterday after noon. (Inset) - One of many fine works by Utaguard Toyokuni who died in 1825. Photographer notations on slide: "B21" Published: 23 February 1934 Published title: A DECK GALLERY FOR JAPANESE PRINTS. Published caption: A unique exhibition of Japanese Prints was opened yesterday on Japanese ship Kamo Maru.These pictures are the property of the captain of the Kamo Maru Captain T. Takahata, and are displayed in a specially arranged gallery on the deck of the ship now berthed at No. 13 Victoria Dock. A picture on board yesterday after noon. (Inset) - One of many fine works by Utaguard Toyokuni who died in 1825. Trove article identifier: http://nla.gov.au/nla.news-article203376863 Description: Japanese woodblock prints, probably belonging to Captain Takahata of the Japanese passenger and cargo ship Kamo Maru, who displayed his Japanese Woodblock prints in a special on-board gallery when it visited Melbourne during 1933 and 1934. Research by project volunteer, Louise McKenzie: Plate MCK025 shows a number of Japanese woodblock prints. Three are of traditional “samurai” or Kabuki-style Japanese men in traditional dress and hairstyle; one is a composite of four different prints: two men and two women (samurai/geisha) in traditional dress. There are also several prints appearing to depict traditional scenes of indoor and outdoor life in Japan in the Edo period. An article appeared in The Age in February 1934, covering the visit to Melbourne of Captain T Takahata on the Japanese ship the Kamo Maru. An accompanying photo shows several women, in coats and hats, and a man, closely inspecting a gallery hang of Japanese woodblocks. Inset is a single image of a Kabuki theatre performer, a detail from the full photograph as shown in our slide. This work is attributed to Utagawa Toyokuni (1769-1823), who was mostly known for his prints relating to kabuki theatre and the actors’ dramatic postures. Japanese Kabuki theatre features heavily stylised performances, glamorous, highly decorated costumes and elaborate make-up worn by its performers. It was particularly popular in the Edo period (1615-1868), as was woodblock printing, after its earlier introduction from China around 150 years earlier. Woodblock printing in Japan is a technique best known for its use in the ukiyo-e artistic genre of single sheet images (although books were also created) which flourished from the 17th through 19th centuries. Its artists produced woodblock prints and paintings of such subjects as female beauties; kabuki actors and sumo wrestlers; scenes from history and folk tales; travel scenes and landscapes; flora and fauna, and erotica. The term ukiyo-e translates as 'picture[s] of the floating world'. This expression could be confusingly translated as meaning ‘a world of sorrow and grief’, 'erotic’ or ‘stylish’, and later came to describe the hedonistic spirit of the lower classes of the 17th century. Asai Ryōi celebrated this spirit in the novel Ukiyo Monogatari (Tales of the Floating World), c. 1661: “[L]iving only for the moment, savouring the moon, the snow, the cherry blossoms, and the maple leaves, singing songs, drinking sake, and diverting oneself just in floating, unconcerned by the prospect of imminent poverty, buoyant and carefree, like a gourd carried along with the river current: this is what we call ukiyo.” (Wikipedia: 'Ukiyo-e') Mass production of woodblocks during the Edo period was due to high literacy rates: 100% for samurai and 50-60% for farmers. Consequently, cheaper books were produced in large numbers. In the 18th century, Suzuki Harunobu established the technique of multicolor woodblock printing called nishiki-e and greatly developed Japanese woodblock printing culture such as ukiyo-e. Ukiyo-e influenced European Japonisme and Impressionism. Yoshitoshi was called the last great ukiyo-e master, and his cruel depictions and fantastic expressions influenced later Japanese literature and anime. However today the best known exponents from the period are probably Hokusai and Hiroshige.The price of one ukiyo-e at that time was about 20 mon, and the price of a bowl of soba noodles was 16 mon, so the price of one ukiyo-e was several hundred yen to 1000 yen in today's currency. 'Wikipedia: Ukiyo-e' states: “Japanese art, and particularly ukiyo-e prints, came to influence Western art from the time of the early Impressionists. Early painter-collectors incorporated Japanese themes and compositional techniques into their works as early as the 1860s: the patterned wallpapers and rugs in Manet's paintings were inspired by the patterned kimono found in ukiyo-e pictures, and Whistler focused his attention on ephemeral elements of nature as in ukiyo-e landscapes. Van Gogh was an avid collector, and painted copies in oil of prints by Hiroshige and Eisen. Degas and Cassatt depicted fleeting, everyday moments in Japanese-influenced compositions and perspectives. ukiyo-e's flat perspective and unmodulated colours were a particular influence on graphic designers and poster makers. Toulouse-Lautrec's lithographs displayed his interest not only in ukiyo-e's flat colours and outlined forms, but also in their subject matter: performers and prostitutes. He signed much of this work with his initials in a circle, imitating the seals on Japanese prints. Other artists of the time who drew influence from ukiyo-e include Monet, La Farge, Gauguin, and Les Nabis members such as Bonnard and Vuillard. French composer Claude Debussy drew inspiration for his music from the prints of Hokusai and Hiroshige, most prominently in La mer (1905). Imagist poets such as Amy Lowell and Ezra Pound found inspiration in ukiyo-e prints; Lowell published a book of poetry called Pictures of the Floating World (1919) on oriental themes or in an oriental style.” An awareness of and interest in this style of art seems to have been well established by the time Captain Takahata brought his sailing gallery to Australia in the 1930s. The Age article “Colour Prints from Japan” on 22 February 1934 p. 13, consists predominantly of a sophisticated curatorial assessment of the woodblock style and detailed artist and style information, which is remarkable for its in-depth analysis. The writer even draws attention to the existence of female woodprint artists. It has been difficult to verify those noted in this article, but worth drawing attention to the work produced by the daughter of Hokusai, Katsushika Oi, which is documented and has gained attention within Japan and elsewhere. Captain Takahata may have been quite the ambassador: adverts in Australian quarterly magazine, The Home, promoted regular cruises out of Melbourne and Sydney via Queensland, Thursday Island, Phillippines and Hong Kong to Japan at a cost of £90 for a round trip via Yokohama.(The Home, 1 August 1936, pages 76 and 79). It is reported in one of the many newspapers articles printed during 1933/1934 about Captain Takahata and his collection, that he inherited it, and it was not for sale even at an offered £10,000. However, one article makes mention of him scouring antique shops in rural Japan to add to the collection! And even enlisting the help of his children in the hunt. The collection totalled 11,000 prints and apparently 1,500 travelled with him when he sailed. These numbers do differ between reports, but his collection was undoubtedly large, and Captain Takahata enjoyed lecturing on the subject, explaining that each print was handmade. It took painstaking work over months to create the delicate colour tones, with a block being created for each colour used, and transferred onto specially prepared paper. Many of the designs are symbolic, and even those representing figures and scenes have a narrative basis, or represent traditional incidents in the life and history of Japan. (See Japanese Prints, The Sydney Morning Herald, 14 July 1934). In Brisbane in October 1934, The Courier Mail noted that Captain Takahata, now on the Yusen Kaisha steamer ‘Atsuta Mam’ (a sister ship to Kamo Maru) arrived with another 100 prints in his possession, and that he spent his spare time mounting and cataloguing his treasures. One of his new additions dated from 1787 and Captain Takahata “said that it was the only woodcut to depict eyelashes, and with the aid of a magnifying glass, he showed the extremely fine lines around the eyes of the three Japanese ladies on the print.” References: COLOR PRINTS FROM JAPAN. (1934, February 22). The Age (Melbourne, Vic. : 1854 - 1954), p. 13. Retrieved February 29, 2024, from http://nla.gov.au/nla.news-article20338088 A DECK GALLERY FOR JAPANESE PRINTS. (1934, February 23). The Age (Melbourne, Vic. : 1854 - 1954), p. 11. Retrieved February 29, 2024, from http://nla.gov.au/nla.news-article203376863 JAPANESE WOOD-CUTS. (1934, July 14). Daily Commercial News and Shipping List (Sydney, NSW : 1891 - 1954), p. 4. Retrieved February 29, 2024, from http://nla.gov.au/nla.news-article161150580 JAPANESE PRINTS. (1934, July 14). The Sydney Morning Herald (NSW : 1842 - 1954), p. 12. Retrieved February 29, 2024, from http://nla.gov.au/nla.news-article28024038 RARE WOOD-PRINTS FROM JAPAN (1934, July 16). The Herald (Melbourne, Vic. : 1861 - 1954), p. 20. Retrieved March 2, 2024, from http://nla.gov.au/nla.news-article243171208 JAPANESE WOODPRINTS. (1934, July 14). The Sydney Morning Herald (NSW : 1842 - 1954), p. 16. Retrieved March 2, 2024, from http://nla.gov.au/nla.news-article28023902 11,000 RARE WOODCUTS (1934, October 11). The Courier-Mail (Brisbane, Qld. : 1933 - 1954), p. 18. Retrieved March 2, 2024, from http://nla.gov.au/nla.news-article35647690 A DECK GALLERY FOR JAPANESE PRINTS. (1934, February 23). The Age (Melbourne, Vic. : 1854 - 1954), p. 11. Retrieved March 2, 2024, from http://nla.gov.au/nla.news-article203376863 RARE JAPANESE PRINTS (1934, July 11). The Courier-Mail (Brisbane, Qld. : 1933 - 1954), p. 10. Retrieved March 2, 2024, from http://nla.gov.au/nla.news-article36723139 Wikipedia: 'Ukiyo-e', https://en.wikipedia.org/wiki/Ukiyo-e Wikipedia: 'Woodblock printing in Japan', https://en.wikipedia.org/wiki/Woodblock_printing_in_Japan Wikipedia: 'Utagawa Toyokuni', https://en.wikipedia.org/wiki/Utagawa_Toyokuni Wikipedia: 'Kabuki', https://en.wikipedia.org/wiki/Kabuki 'Digital Humanities and Japanese History',https://dh.japanese-history.org/2020-spring-women-in-japanese-history/japanese-women-artists-of-the-edo-period/ '25 Famous Painters in Japanese Art', https://dh.japanese-history.org/2020-spring-women-in-japanese-history/japanese-women-artists-of-the-edo-period/ 'Nyk Kamo Maru', https://blog.shipwatcher.com/index.php/nyk-kamo-maru/ The Home : an Australian quarterly Retrieved March 4, 2024, from http://nla.gov.au/nla.obj-386036987 : Volume 17, No. 8, 1 August 1936.Photographer notations on slide: "B21".japan, prints, ships, art

Hard cover book. Frescoes Author: Ouida/Marie Louise de la Ramée Publisher: George Robertson Date: 1883 Further Information: Red Cloth hardcover with lettering and patterning to spine in black. The spine has a Library label with an inscription.fictionFrescoes is a collection of dramatic sketches of short fiction by Ouida (Maria Louise Ramé, who preferred "Marie Louise de la Ramée"). The title story first appeared in serial form. The January magazine Belgravia carried the first portion of a three-part story by Ouida called "Frescoes." Ouida's usual territory is Italian settings, romance, and social drama. Her style and lack of moral preaching throughout her volumes made her books popular to Victorian readers. book, cecil castlemaines gage, ouida, maria louise ramé, marie louise de la ramée), shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, warrnambool, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, shipwrecked-artefact, pattison collection, warrnambool library, warrnambool mechanics’ institute, ralph eric pattison, corangamite regional library service, warrnambool city librarian, mechanics’ institute library, victorian library board, warrnambool books and records, warrnambool children’s library, great ocean road