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Pool Facilities. Tennis Courts. Conference Rooms. The remaining estate was subsequently incorporated into a residential subdivision, with Leacock's Lane named after the family of a previous owner, Jim Leacock as its main circulation ring road off the Hume Highway. A draft plan of management for Leacock Regional Park was commissioned in At that time, most of the site 5. The house was then restored by the Historic Houses Trust, including restoring and reconstructing original details, reconstructing the garden, improving water tanks and installing new wet areas and conveniences.
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It was subsequently sold back to private ownership as a residence. It is surrounded to the south and north by Leacock Regional Park, with the main Southern Railway and a large area of landfill to the east, and residential subdivision, fronting Leacock's Lane, to the west. The buildings on the property are located to the western part of the site on top of a ridge and contain a 14 room homestead, a dairy, coach house and privy. Panoramic views from the site are afforded to the north, south and east over the river valley.
The homestead is a Colonial Georgian convict-built homestead of 14 rooms with kitchen, pantry and cellar. The roof extends over the stone flagged verandahs on three sides and is supported on turned wooden columns. The wooden shingles of the original roof can still be seen under the iron. The house has brick cellars and two attic rooms with gable windows facing the prospect to the east. The English Bond brickwork construction is of a very high quality, particularly evident in the cellars, where arches support the walls above.
The bricks are made from local clay. The lime in both the mortar and render is made from crushed oyster shell, with the latter clearly visible. The joinery throughout is cedar. There are six-panelled doors and french windows with small wooden panels at the base and small glass panes held in fine wooden glazing bars. The mouldings of the architraves and chimney pieces are typical of Colonial Georgian design.
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Its floor was renewed recently in hard brick. The ground floor contained a place for the family carriage with a workroom adjoining, where harness and tools could be kept and repaired. The upper floor provided dry storage space for hay and other stock feed There is a dummy doorway and two windows.
At the rear of the house there is an imposing two-storey brick building that may have been used for stables, barn or even as another dwelling house. The symmetrically placed recesses and openings on the ground floor with their semi-circular arches suggest that this building was erected at a later date than the house, possibly in the s or s. Originally a acre grant to Dr Charles Throsby in Part of acres granted to Throsby in the Minto area.
Macquarie passed through the farm on his tour of inspection, implying that farm buildings were likely to have been built around that time. In the farm of acres was leased as a working dairy farm with a mile of river frontage to the George's River, including large areas of rye, field peas, corn and sugarcane as well as fruit trees and vegetable gardens.
An underground dairy produced quality butter.
Outbuildings included piggeries, cow yards, two large farm sheds , four new farm huts and a substantial brick four-stall stable and coach house with a granary above. Early 20th century, it was subdivided and sold by Archer Broughton Throsby, although he was recorded as still residing at Glenfield Farm on his death in In James Freeland Leacock, who had married a descendant of the Broughton family of Appin, bought Glenfield for a dairy farm.
Surviving elements such as old fenceposts remain on the estate. The key elements of its garden are the 19th century Moreton Bay fig Ficus macrophylla and early 20th century pepper trees, the old water cistern and terracing of the northern garden area, including the tennis court. Younger trees include Bunya Bunya pine Araucaria bidwillii a pair of which flank the front door facing west.
Two bunya pines Araucaria bidwillii have been planted on axis with the western entrance door of the homestead. A clump of gian bamboo defines the edge of the gardene area of the farm. Through this treatment of the body, Watson explores both the human presence within the land and the impact of the malevolent structures of the State upon indigenous Australians.
The latter was the theme of her work a preponderance of aboriginal blood , which resulted from a commission from the State Library of Queensland. Over the course of her career, Watson has undertaken international residencies in Italy, India, Canada, Norway and France. She has held numerous solo exhibitions in Australia and overseas, and her work is included in the collections of all major state galleries, as well as numerous overseas collections. Watson has held lecturing and tutoring positions at a range of universities, and has also been active in encouraging and assisting other Indigenous artists to research their heritage, access art resources, and develop approaches to creating art works that reflect their history, identity and location.
These include an installation in the Walama forecourt at the Sydney airport, for which artist Brook Andrew also contributed sculptural works. After consultation with Maningrida weavers in the Northern Territory, Watson designed large corroded steel structures that echo the shapes of dilly bags, termite mounds and sedge grass fences, while she also developed a shell theme for the site in consultation with La Perouse Sydney shellwork artist Esme Timbery.
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In , Watson was selected to produce two works, a glass ceiling and a glass wall facade, that were permanently installed in the Musee du Quai Branly, Paris, which opened in Watson was among a group of eight indigenous artists whose work was integrated into the architectural fabric of the buildings, the others being Ningura Napurrula, Lena Nyadbi, Michael Riley, Tommy Watson , John Mawurndjul, Paddy Bedford and Gulumbu Yunupingu. After many years living in different parts of Australia and long periods of time overseas, at the time of writing Watson had returned to live in Brisbane with her family.
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