bottle

Young Evelyn launched the USS Wainwright in June 1915; her great-grandfather was one of its namesakes: en.wikipedia.org/wiki/USS_Wainwright_%28DD-62%29 Her parents' tombstone at Arlington: www.findagrave.com/cgi-bin/fg.cgi?page=gr&GRid=91959377

Thanks Wystan for linking this image of Evelyn Wainwright Turpin to the related image of the ship. We will add more information when we update.

An article about the christening is in the Evening public ledger., June 12, 1915, Final, Page 14, col. 1: "TEN-YEAR-OLD MISS CHRISTENS DESTROYER"

I added her to Wikidata: www.wikidata.org/wiki/Q96089632

"These Milk Bottles in Spokane were designed in 1934 by Whitehouse and Price. They stand 38 feet tall and are 15 feet wide. The body of the bottles are wood and wire mesh covered with stucco. The neck and cap are sheet metal over a wooden frame. The owner, Paul E. Newport, had six or seven of these milk bottles built as retail outlets for his Benewah Dairy Company. The bottles were designed to make milk appealing to children. The company folded in 1972 and only these two bottles remain. Another on Perry St. was converted into a windmill but seems to be gone." www.roadarch.com/vessels/milk.html

Street view July 2017: www.google.com/maps/@47.6527311,-117.4324723,3a,55.5y,91....

Uncover the life of Ellis Rowan Artist and naturalist Marian Ellis Ryan was born in the Port Philip District (now Victoria) on 30 July 1848. She was the eldest child of Charles and Marian Ryan, and was always known by her middle name. Her maternal grandfather was natural history illustrator John Cotton, whose sketchbooks she inherited and are now part of the National Library’s collection. Art and nature were the driving forces in Rowan’s life. She did not formally study natural history, and it is not known how much art tuition she received. Rowan developed an individual style and crafted paintings that celebrated the beauty of her subjects while also demonstrating sophisticated painting skills. An early journal held by the Library includes sketches, notes, and transcriptions of poems, as well as dried plants. It offers insight into Rowan as a young woman, revealing her interest in art, plants, and writing. She first exhibited her work at the Intercolonial Exhibition in Melbourne in 1872, winning a bronze medal. Her interests were supported by her family and her husband, Frederic Charles Rowan, whom she married in 1873. This support was significant, given the professional limitations Victorian-era women experienced. Her father’s purchase of land near Mount Macedon, Victoria, in 1872 is believed to have contributed to her passion for Australian wildflowers. Time spent living in New Zealand shortly after her marriage also contributed to her decision to paint professionally, as she did not take to domestic life, discussing this period decades later in 1912: ‘I was suddenly cut off from all social pleasures … and here, for the first time, I was thrown entirely on my own resources … here for the first time I commenced … getting as good a collection of Australasian flora as I could.’ Although Rowan is best known for her paintings of Australian wildflowers, she also admired birds and other life forms. This included butterflies and other insects, which often appear in her watercolor paintings. She preferred to work en plein air, which often involved hiking to remote areas where wildflowers grew, wearing the long, delicate dresses sported by fashionable women of the time. Gifted in composing images, Rowan’s work became bolder over the years as her confidence grew. Her paintings, as Patricia Fullerton has observed, also show an awareness of pattern and decorative expression—something promoted by the popular Aesthetic Movement which celebrated the notion of ‘art for art’s sake. Source: www.nla.gov.au/whats/exhibitions/past-exhibitions/birds-p...