The vase is in excellent used condition and appears to have only been used for display purposes. There are no chips, cracks or scratches. Please view the photographs as they form part of the description. It measures 14.5 cm high, 7.5 cm square, has a 5 cm opening at the top and is 8 cm across the base. Great care is taken when packaging and shipping all fragile items. Recycled packaging is used wherever possible. It's an unusual pot/vase and would make an excellent gift. Springmount Pottery in Creswick, Victoria, produces and sells works designed by its owner, Tina Banitska, who also owns the Convent Gallery in Daylesford. Banitska came to Australia with her family from Greece in 1956. She trained at RMIT and Franklin State College, before taking over Doug Alexander's Springmount Pottery when he moved to Tharwa in 1976. Retaining the pottery name, she developed it as a workshop, employing throwers and decorators to make works to her design, and initially selling these through the Springmount Pottery Gallery on Main Street, Ballarat. The pottery now operates with its own gallery onsite, currently under renovation. Banitska's initial interest in ash glazes is continued in the Pottery's ashware line and there has also been a wide range of other Springmount designs. Works are signed with a painted 'Springmount' often split over two lines. (Australian Potters Marks). This vase is glazed on the inside and is matte with etchings on the outside. It has the original swing tag still attached. Policy. No refunds or returns, however, in the case where the item arrives not intact, please photograph the goods and packaging so that we are able to satisfy you. We aim to provide the very best of service to our customers.
Lionel Lindsay aka Lionel Arthur Lindsay (Australian, 1874-1961, b. Creswick, Victoria, Australia, d. Melbourne, Australia) - The Witch, 1924, Woodblock Prints: Ink on Paper
The larger print is Nant Mill on the Beddgerlert Road by J. Day & Son's, lithographers to Queen Victoria, 1859-68. The picture is said to be from 1852. Size of print is 24.5cms X 16.8cms. The frame 35.5cms X 28.5cms. The smaller one is 'Wooden Bridge Near Beddgerlart' by T. Creswick, a steel engraving by W. Radclyffe circa 1832. Size of print 14.5cms X 10cms. The frame is 28.7cms X 24cms. I believe both of these to be from the same Snowdonia area, although the spelling is different on each (which is possible in those days). These were both part of my Father's extensive art collection which I am gradually scaling down as although I love them, they don't look right in my more modern house. I provide an honest description as I see it. Thank you for looking at this listing. Please see my photos alongside the description of the items. I apologise for some reflection from the glass. They will be wrapped carefully & sent by tracked courier delivery (if posting to Northern Ireland it will be by Royal Mail). I only post to the UK at present.
Saturday Afternoon Candle - Milkwick Hand Poured in Victoria Experience the comforting scent of Saturday Afternoon with Milkwick's hand-poured candle, made in the serene Creswick Homestead studio in country Victoria. This delightful candle combines the soothing aromas of Pear, Apple, Lemon Zest, Cinnamon, and Vanilla. Crafted from natural soy wax and premium fragrance oils, this Melbourne-made candle offers approximately 40 hours of burn time in a 250ml size. Perfect for creating a warm, inviting atmosphere in your home.
This proceedings volume contains the invited and a selection of the contributed papers of the 8th International Workshop on Sulfur Metabolism in Higher Plants, which was held at Department of Forest and Ecosystem Science, University of Melbourne, Water Street, Creswick, Victoria 3363, Australia from November 22-27, 2010. Content of the volume shows that the understanding of sulfur metabolism in plants and the interaction of the environment are rapidly progressing.This volume covers various aspects of the regulation of sulfate uptake and assimilation in plants, from a cellular to a whole plant level, and additionally emphasizes interactions with other minerals. Moreover the significance of sulfur metabolism in biotic and abiotic stress responses, in food security and quality, and in relation to interactions with global change factors is discussed in detail.
Creswick, Victoria, Australia. Portrait A6 greetings card taken from original image by White One Sugar. (blank inside) Link to prints on Etsy: https://www.etsy.com/uk/shop/WhiteOneSugar?ref=simple-shop-header-name&listing_id=250100796 Travel Poster design by White One Sugar
This former Victorian gold mining town is set in west-central Victoria, Australia. It once had a population of 25,000 during the gold rush in the 1850s.Despite now having a population of just over 3000, Creswick has many events throughout the year. It is also home to the Victorian School of Forestry, which is now part of The University of Melbourne. This print fits into standard size frames. Travel/Railway style poster print, art print. This is one print from a series of over 800 images by White One Sugar, a group of Kent based artists. It has been printed onto good quality paper using light fast inks so your picture will look good for years to come. A4, A3, A2 and A1 are standard sizes so frames are easy to find.
Why not make a stop at some fantastic locations when travelling from Ballarat to Bendigo in Victoria, Australia.
Who in the blogging world might be interested in Victorian-era bandstands? Leaves of Grass blog has the most amazing collection of Brasil’s bandstands I've seen. They had various shapes, colours and building materials, one more splendid than the next. Alas she did not include any building dates. Caroline's Miscellany examined the source of Taunton (1895) and Bridgwater (1908)’s late C19th bandstands. Her examination of British sites inspired my search for Australian equivalents. Clueless in Boston presented a truly lovely image of Parkman Bandstand 1912 in Boston Common. The best collection of British Edwardian band stands is in Rose C'est La Vie blog. Rose loved the bandstands because "they're whimsical in design, sometimes oriental, sometimes wedding cakey, and evocative of the innocent pleasures of promenading on a fine day and settling down on a deckchair to listen to a very jolly brass band, a military orchestra, local musicians." In my state, Victoria, Johnstone Park Geelong was created in March 1872. In December that year, the first band concert was held by a local military band. Then an octagonal wooden bandstand was built right in centre of the park as early as November 1873. As soon as WW1 ended, a war memorial was built in the centre of the park as a memorial to the fine young men killed in battle, and the old bandstand was modernised. Geelong, Johnstone Park The late 1870s saw the discovery of deep leads of gold in the Creswick region and these underground mines brought further wealth to the town. This enabled solid public buildings to go up, as well as the development of public open spaces, like Park Lake. Creswick Jubilee Bandstand 1879 was erected to celebrate Queen Victoria's Diamond Jubilee. It dominated the town's open area in the centre. Creswick Jubilee Bandstand Opposite the Beaufort gardens was an octagonal band rotunda 1903, build to commemorate Queen Victoria’s Reign. The Beaufort rotunda was crowned by an octagonal lantern with iron-grille décoration and a four-faced clock. Queen Victoria’s death created a virtual cottage industry. The rotunda built as her memorial and opened in Buninyong in 1901 was the earliest memorial in this state, and preceded the bandstands built in Beaufort 1903, Bendigo 1903, Geelong 1904 and Melbourne 1907. An attractive and slightly differently shaped bandstand was built in Burra in 1911. This small South Australian town wanted to honour King Edward VII. Beaufort Rotunda Sturt St Ballarat already had beautiful blue gums, grown for 45 years before the first bandstand was designed. By 1905 the centre of Sturt St looked like an interlinked group of lovely gardens. The position was perfect. Queen Alexander Bandstand 1908 was named by the Duke of York after his mother, wife of King Edward VII. It was an innovative band stand design, using a polygonal form topped by a Moorish onion dome. The bandstand had very fine wrought ironwork that, appropriately, included musical motifs. Built during the heyday of the band movement, it is now one of the few remaining examples of Edwardian bandstands in Victoria and reminds us of a popular form of outdoor entertainment. Examine in Your Brisbane blog for an amazing New Farm bandstand that looks like a small Edwardian house. The park was taken over in 1913 by the Council, and they added this handsome bandstand and a kiosk. It has more gables and more timber lace work than my grandmother's house. Ballarat's Titanic Memorial Bandstand 1915 was unusual example of creative bandstand design in rural Australia, an exotic composition with orientalist roofs. Designed by local architect, GW Clegg and manufactured at a local foundry, the Titanic Bandstand has survived well. It was created as a memorial to the SS Titanic disaster, particularly to those musicians who heroically continued playing as the unsinkable ship sunk. Ballarat, Queen Alexander bandstand Ballarat, Titanic Memorial bandstand Since the royals were 15,000 ks away and there were very few Australians lost on the Titanic, we might ask why there was a rush to spend community money on bandstands? Listening to music played by the town band was a popular form of amusement in the Edwardian era and most councils thought the money would be well spent. And perhaps there was a pride in nationalism, in quietly and democratically uniting the Australian states into one Federation. Or the connection to WW1. The Port Melbourne war memorial is an octagonal brick band stand with a metal roof and steps on the north side. An inlaid marble tablet from the Port Melbourne Women's Welcome Home Committee honours the gallant Australians who fought in the Great War 1914 - 1918. The only bandstand and park image I have from the turn of the century was taken in Hyde Park Sydney. Sydney, Hyde Park These late Victorian and Edwardian structures, within their well-developed gardens, have now been given heritage protection. At the time, the bandstands, iron seating and garden displays must have given great pleasure to ordinary families, every summer.
Norman Alfred William Lindsay (22 February 1879 – 21 November 1969) was an Australian artist, sculptor, writer, editorial cartoonist, scale modeler, and an accomplished amateur boxer. He was born in Creswick, Victoria. Born into a family that produced fine artists, his early skill in drawing and reading was encouraged by relatives. He received his only formal training in 1897 at the art colony run by Walter Withers at ‘Charterisville’ in Heidelberg. In 1899 he moved to Sydney, married in 1900, and began a lifelong association with the Bulletin. He was best known for exquisite pen drawings whose dark areas were enlivened by minute traces of white. In 1906 he began producing wash drawings; during World War I he designed government posters, and after the war he took up watercolour painting. From 1918 to 1938 he concentrated on etchings, which were printed by his second wife, Rose Soady (b c. 1885), whom he married in 1920. She collected the drawings and proofs for his over two hundred published etchings, which are now in the Mitchell Library, Sydney. In 1927 he founded the Fanfrolico Press with his son Jack. His home at Springwood, NSW, is now a gallery and museum.
