By Carol Altmann

[dropcap style=”font-size: 60px; color: #8F9F59;”] A [/dropcap]lmost 170 years after she was laid to rest somewhere in the Warrnambool sand dunes, Agnes Ruttleton – the “Granny” behind Granny’s Grave – is to get her name back.

The Warrnambool City Council has followed through on its plan to have a plaque recognising pioneer Agnes Ruttleton added to the famous Granny’s Grave site at the east end of Lady Bay and has installed it in time for March 8: International Women’s Day.

Until now, Agnes has been incorrectly known only as Mrs James Raddleston, “the first white woman buried in Warrnambool” and thousands of locals and tourists have walked past her memorial in the dunes not knowing anything more about her.

Last year, however, Bluestone Magazine ran a story on the research of local historian Jenny Fawcett that revealed so much more about the life and times of Granny Ruttleton, who died in 1848 at the age of 60. It remains one of our most popular stories and you can read it here.

[dropcap style=”font-size: 60px; color: #8F9F59;”] A [/dropcap]mong those inspired by Agnes’ story was Warrnambool textile artist Louise Parlour, who used the imagery of the Granny’s Grave bluestone headstone for her entry in the inaugural South West International Women’s Day Art Prize.

“The theme for the art prize was ‘Women and Place’ and I think the Granny’s Grave story fits that so perfectly,” Louise said.

“So many people walk past that site and never really stop to look. Plus (Agnes) is not actually buried there and they have her name wrong, so it is like she is invisible, despite being one of the first pioneering women of Warrnambool.”

Louise photographed the headstone and used this to create a template from dissolvable plastic. Around this template she freehand embroidered the headstone using the closest colour she could find to bluestone.

The work took about 50 hours and 10.5 km – yes, 10.5 km – of cotton to complete.

“I think I bought about every batch of that cotton I could get my hands on in Warrnambool,” Louise laughed.

[dropcap style=”font-size: 60px; color: #8F9F59;”] T [/dropcap]he gravestone’s green lettering was then stencilled on to the work, some real lichen added from Louise’s roof at home and the whole thing covered with a thin coat of PVC glue to hold it together once the dissolvable plastic was removed.

The headstone itself is surrounded by sand and pussy willows, boxed by recycled fence pickets from a friend.

“I wanted it to look like I imagine it did when it was first erected, not with the modern handrails and things around it,” Louise said.

As part of sharing Agnes’s story with the public, Louise wrote a poem encapsulating what is known of her life and included this in her piece, tucked inside a piece of weathered marine ply.

“I want people to pick it up, read it and go away knowing a bit more about Agnes,” she said.

[learn_more caption=”You can read Louise’s poem here:”]

Where is this woman?

Laid to rest

Windswept dunes

Leaving no remnants

No trace……………

No photos to be found

Only our imaginations

Giving Granny a face.

A pioneer woman of her day

A township of 100 people

So they say…..

Makeshift homes set up

Enduring the wind and rain

On Flagstaff Hill

Where the sheep today roam.

So who is this Granny?

Encapsulated in time

A bluestone grave

Neither reason nor rhyme

Standing all alone

Standing the test of time……

Not much is known about Granny

And her pioneer days

Agnes sailed by sea

From Tasmania

Aboard the Essington

Wife of James

No record of children

The colony of New South Wales

Town of Warrnambool……

Worked hard for a quid

Odd jobs and selling crays

Headstone depicts wrong name

Should read – Mrs Agnes Ruttleton

Second white woman

To be buried in Warrnambool

First believed to be buried on an island

Off the Hopkins River

Granny was admired by one Richard Osburne

Known as a publisher and local historian

Paid for her burial

In the sand dunes……

Returning some years later

To no avail

Could not find her marker

And all efforts failed

Richard Osburne fought

Council decided to erect a headstone

The one that stands today All alone……..

Louise Parlour 2015

(I would like to acknowledge Bluestone Magazine and their article “Who is the “Granny” behind Granny’s Grave?” published February 9, 2014, and local researcher Jenny Fawcett who uncovered the story of the “real Granny”.) [/learn_more]

[dropcap style=”font-size: 60px; color: #8F9F59;”] T [/dropcap]he marine ply was found at Levy’s Beach where she occasionally walks with her father, who visits the area regularly in search of that other Warrnambool legend: the Mahogany Ship.

It is the first time Louise has entered her work in an exhibition, but unfortunately, after our interview, she learned that she had missed out in the selection process (the prize attracted more than 70 entries, of which only 50 could be selected).

Despite missing out, Louise remained upbeat, saying she had thoroughly enjoyed creating the work. We think Agnes would be pretty chuffed too.

In the meantime, the council plaque – which has been added to the viewing platform next to the grave – provides details about Agnes and her challenging life as one of the first non-Indigenous people to settle in the area.

A council spokesman said the full text of the plaque, which can be found at the end of this story, was developed with the assistance of Elizabeth and (the late) Les O’Callaghan and the Warrnambool Historical Society, in conjunction with historian Dr Helen Doyle.

[learn_more caption=”Read the full text on the grave plaque here:”] Who was Granny? Granny’s Grave marks the burial site of Agnes Ruttleton, who died in December 1848. Agnes Ruttleton, known as “Granny”, was recorded as “the first white woman to be buried in Warrnambool”.

Agnes arrived in Warrnambool with her husband James Ruttleton in the late 1840s (probably both ex-convicts from Van Diemen’s Land) and lived in humble conditions, occupying a tent or hut at the base of Flagstaff Hill. It is believed they made a living catching crayfish. Exposed to unpredictable weather and with few physical comforts, they would have had a tough life.

In Warrnambool’s early days many settlers experienced similar hardship and made meagre incomes from fishing and beachcombing. In an 1850 census, eight men gave their place of residence as ‘at the jetty’, another five were described as ‘Fishermen at the Hummocks’.

Upon Agnes’ death in 1848, a group of leading Warrnambool citizens, including Richard Osburne, who would later publish The Examiner, Gilbert Nicol, Mark Nicholson, John Hollins Craig, John Moffat Chisholm and Thomas Denny, rallied to provide a decent burial ceremony for her.

Rev. Thomas Slattery, the Catholic priest from Belfast (Port Fairy), was brought across to officiate at a ceremony held at the sand hummocks and to consecrate the ground where she was buried. [/learn_more]

[box]The South West International Women’s Day Art Prize will be launched Thursday March 5 at 6pm at The Artery, 224 Timor St, Warrnambool. Live music. Judging by internationally recognised Portland artist Carmel Wallace.[/box]

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By Carol Altmann

[dropcap style=”font-size: 60px; color: #DC943C;”] L [/dropcap]eah Ponting and Nathan Shanley might appear to be like any other young couple renovating an almost 100-year-old home they share in Warrnambool, but in fact they are not partners, just great friends.

And their home at 40 Lava St is not their first renovation project together, but their second in four years – even though they are both only 24 years old.

As Leah explains, the productive partnership began when her aunty, Jenny Ponting, passed away suddenly in 2011 at the age of 49 and left Leah a small inheritance.

“Jenny was a strong and independent woman and so I decided that I wanted to do something meaningful and worthwhile with the money she had left me,” she said.

[dropcap style=”font-size: 60px; color: #DC943C;”] L [/dropcap]eah, a business development officer, was already friends with Nathan, who has worked as a builder since he was 15, and knew that he was interested in taking on a project of his own, so the pair decided to combine their skills and tackle a renovator’s delight – or perhaps it could be better described as a blank slate.

The property was the former Pretlove’s nursery at 43 Wentworth St and was not so much a home as “a concrete slab and some walls,” Leah said.

“Nathan and I loved working on that one together – we had so much fun for about 12 months, transforming it from a derelict building into a three-bedroom home that we could live in,” she said.

High on the success of Wentworth St, Leah and Nathan applied to be part of the television reality renovation show, The Block, and even though they were not accepted, they still thought the time was right for another renovation challenge.

[dropcap style=”font-size: 60px; color: #DC943C;”] L [/dropcap]eah had spotted an old weatherboard cottage at 40 Lava St that had been on the market for about a year and decided it was the one.

“It was one of those places that you have to see past the superficial to see its potential: a lot of people don’t see the beauty behind what is a bit run down,” Leah said.

The property was previously the home of one of Warrnambool’s characters, Lottie Bowman, who died in 2013 at the grand age of 104. Ms Bowman’s mother lived in the house before her and little had changed inside.

“It’s such a lovely story behind this house and it is wonderful to be able to make it into a home again,” Leah said.

“These days there are so many homes that are built as one-size-fits-all, but this place has such character and I love bringing it back to life.”

The pressed metal ceiling in the lounge room was of particular interest to Leah’s friends: “they had never seen one before”.

[dropcap style=”font-size: 60px; color: #DC943C;”] N [/dropcap]athan has a similar philosophy toward the old house, which dates back to at least the 1920s.

“In my job you can build 50 houses a year, but with most of them I don’t drive past and say ‘I built that’, like I would with this place,” he said.

The pair started with a “fast and furious” renovation so they could live in 40 Lava and work on it at the same time. Up came the carpet, then the lino, then some more lino (layering was popular in the old days) and finally sheets of newspapers from the 1920s.

Nathan framed one page from a 1924 evening edition of the Herald that espoused the virtues of asbestos as a “the building material of the future”.

The original fireplaces were restored, walls painted (with the help of Leah’s father John Ponting), fire surrounds relocated and repainted, and the rooms redecorated by Leah with help from her mother, Raelene Ponting, from whom she inherited the styling gene.

[dropcap style=”font-size: 60px; color: #DC943C;”] W [/dropcap]hen undertaking such a venture, it certainly helps to have several generations of timber and hardware experience behind you, as the Ponting family does in Warrnambool.

That doesn’t mean, however, that there isn’t the occasional “renovation-frustration” between Leah and Nathan.

“Sometimes, when it has been a particularly long day, we go to our respective bedrooms without saying a word to each other,” Leah laughs.

Mutual friends marvel, however, at their ability to work together and share the financial risk and stress of buying and renovating houses without being actual partners.

“It’s true that a lot of people don’t understand it, but we have a great friendship and I have a lot of faith and trust in Nathan,” Leah explains.

[dropcap style=”font-size: 60px; color: #DC943C;”] T [/dropcap]he renovation of 40 Lava St is close to a spectacular completion, after which the pair will build two units on the large block of land at the back.

For now, 40 Lava is home, but is there another project on the horizon?

“As Nath says, ‘not another renovation, they are too much hard work’,” Leah said via an email.

“But then I say to him, no two houses are the same and that is what makes it so rewarding. We are creating something unique; a house filled with character that tells our story. So the answer is we will wait and see how this project goes, but potentially yes??”

[box]MORE photos: visit Leah’s blog on 40 Lava St here. More images of the 43 Wentworth St renovation can be seen at Nathan Shanley Carpentry on Facebook. Nathan was also involved in the renovation of 222 Timor St, as featured in our story here.[/box]

 [button link=”http://the-terrier.com.au/subscribe-2/” type=”icon” icon=”heart” newwindow=”yes”]Bluestone is aiming for 500 subscribers in 2015. Please support what we do and subscribe here[/button]

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Analysis – Carol Altmann

I must admit that I thought it would have happened by now: that the Warrnambool City Council would have asked survivors of sexual assault what they thought should be done with the Rolf Harris mural at the Lighthouse Theatre.

Especially given that the council met last night (23/2) for its briefing – which is closed to the public – and was asked to adopt a recommendation at its meeting next Monday (2/3) that the mural be kept, but covered by black perspex, as it is now.

It is nine months since the council knew it had a problem on its hands, when Harris was convicted and sentenced in the UK on a string of sexual offences against young girls.

It is three months since his avenues of appeal lapsed.

But as of today, Tuesday February 24, only one person from within the entire council and its elected officials had bothered to contact the South Western Centre Against Sexual Assault or Emma House Domestic Violence Services to ask their opinion. (That was Cr Peter Hulin).

In the meantime, in light of his conviction, Harris’s works have been removed from public galleries around the world, his impromptu mural in a Melbourne paint shop has been painted over, he has lost his place in the Australian Recording Industry Association hall of fame, he has been stripped of a fellowship in the British Academy of Film and Television Arts and, as of earlier this week, was no longer an Officer and Member of the Order of Australia.

In Warrnambool, however, the council has apparently made up its mind to keep the mural without consulting anyone.

We contacted SW CASA manager Mary Clapham today for her thoughts on the mural.

This is Ms Clapham’s written response in full:

“Previous comments by the South Western Centre Against Sexual Assault as part of the public discussion of whether or not the local mural painted by Rolf Harris should be removed, have highlighted the very real possibility of this mural causing significant additional distress for people who have previously been impacted upon by the sexual abuse of children by paedophiles.

Many people, if not necessarily a victim themselves, may have been a parent, brother, sister, friend or relative of a child who was sexually abused and bear witness to the devastating impact it has upon individuals and families.

With sexual assault being as prevalent as it is within most communities (1 in 3 women and 1 in 6 men are abused before the age of 18 years), the community discussion currently being generated will include the voices of people who have been impacted upon by sexual assault and these are the people who have a right to be asked and listened to regarding the next steps for the Rolf Harris mural.

Regardless of the assigned artistic virtue of an art installation, an integral part of the public display of art is the honour associated with having that work displayed.

The Warrnambool City Council has rightly negated the honour previously afforded to Rolf Harris by covering up the Warrnambool mural. The South Western Centre Against Sexual Assault supports no community honour being afforded to any perpetrator of sexual violence against children, including Rolf Harris.”

We also contacted Emma House manager Pat McLaren to ask her opinion.

“We would like to see it painted over. It needs to be painted over so that it is obliterated forever, just like Frank Penhalluriack did in Melbourne without any problems whatsoever,” Ms McLaren said by telephone.

“This not censorship: this is about taking a stand against pedophilia.

“It is a piece of art on council property. It is not a piece of art that is bought and sold. Council needs to take a stand against sexual assault and grooming and all of the other things that Rolf Harris has been convicted of: these are not allegations, these are crimes proven in a court of law.

“The Australian Government has taken a stand, we need to do the same,” she said.

Ms McLaren said the council had quite rightly waited for any appeal before taking any permanent action, but now that the appeal had failed and Harris’s conviction stands, the council needed to renew the conversation about the future of the mural.

“It is not just a decision for the council to make, but one that the community must make. The council needs to be talking to people across the community.”

None of this matters, however, because the councillors, it appears, have made up their minds already.

The vote next Monday – and the arguments put forward – will no doubt be fascinating, but if anyone other than Cr Hulin claims to have consulted with those who support survivors of sexual assault in making their decision, they are wrong.

CLOSED – winners have been sent an email.

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ANALYSIS – Carol Altmann

[dropcap style=”font-size: 60px; color: #A5CECD;”] H[/dropcap]eritage Victoria has finished a three-week investigation into missing and damaged artefacts at Flagstaff Hill Maritime Village in Warrnambool and found it has no case to answer.

Instead, any responsibility for the missing artefacts and damage to relics from the wreck of the Loch Ard (1878), has been sheeted home to former management of the village.

As first reported in Bluestone Magazine, Heritage Victoria launched a formal investigation into the cutting of copper sheets from the Loch Ard, with a 10x10cm piece taken from one, while another had a large slice removed, allegedly for use as a sculpture or trophy.

Such damage to relics is an offence under the Commonwealth Historic Shipwrecks Act.

In addition, Heritage Victoria was investigating how the museum had lost track of at least 129 items from its collection, including the brass ship’s bell from the wreck of the Newfield (1892) that was once displayed in the Great Circle Gallery, and more than 200 lead ingots from the Loch Ard.

A spokesperson for Heritage Victoria today issued a two-sentence statement to Bluestone Magazine, saying the investigation was finished and there would be no further action, as “most” of the issues had happened more than a decade ago.

Here is the statement in full:

“Heritage Victoria has completed its investigation into suggestions of problems with the management of the collection at Flagstaff Hill Maritime Museum and determined that no action is required.

“Heritage Victoria noted that professional systems highlighting collection management and an internal audit process had been instigated under the present management and that most of the issues raised had occurred more than a decade ago under previous management.”

No other information was available and is unlikely to be available in the future, as Heritage Victoria does not reveal the details of its investigations.

[dropcap style=”font-size: 60px; color: #A5CECD;”] S[/dropcap]o what happened to the copper sheets and who cut them?

And where is the missing Newfield bell, among other items?

Even after this investigation we are none the wiser and, from the sound of it, probably never will be.

The outcome of the investigation is not a surprise, however, in light of comments by Warrnambool City Council chief executive officer Bruce Anson to the February 2 council meeting.

At that time, and in response to questions from Cr Brian Kelson who first raised concerns about the missing artefacts, Mr Anson said “we are confident that our discussions with Heritage Victoria will not find any significant issues at all.”

“We have an ongoing and very positive relationship with Heritage Victoria,” he said.

When asked directly by Cr Kelson who cut the copper sheets, Mr Anson said one had been pierced by a nail, while on loan, and another had a corroded edge from lying in water.

The nailed sheet was in fact a drill hole, added to a sheet now on display at the Port Campbell Tourist Information Centre, so that it could be secured to the wall where it was formerly housed (the people responsible apologised to Flagstaff Hill in 1993 for their mistake.)

Mr Anson made no mention of the sheet that has had a large slice removed, or the sheet with a missing 10x10cm piece, but did say some of the cuts were “hearsay”.

Perhaps more will be ultimately revealed by the council, with Mayor Michael Neoh telling the same meeting that he would be happy for Director City Growth Bill Millard to do a full and formal report back to the council on these issues.

Let’s hope so, because as it stands we still don’t know what happened to precious artefacts that were given to our city by the Federal Government for safe keeping.

  More Analysis can be found here…

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