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Late C17/early C18 farmhouse. Site of a notorious siege and shoot-out on 22 July 1780 when Owen Owens, the Deputy Sherrif and a party of bailiffs went to arrest David Williams, the owner, for smuggling goods to the value of ú200; Owens and two of the bailifs were wounded, the former seriously: `Williams fixed upon his house the English colours and defied the beseigers.' Williams was finally taken after further assistance was sought.
Exterior
One-and-a-half storeys with 3-window front; of whitened rubble with slate roof. Gable parapets with overlapping slate coping and end chimneys with weather coursing, that to the R
projecting slightly and with wide gable. Near-centre entrance with slightly recessed boarded door; flanking windows with appropriate modern 6-pane casements. Similar 4-pane casements above, contained within rubble gabled dormers and breaking the eaves. Modern sky-light to rear roof pitch and later catslide rubble extension.
Adjoining to the L, and stepped-down slightly, a near-contemporary single-storey rubble byre; old slate roof to front and corrugated iron to rear roof pitch. Off-centre entrance (R) with projecting slate lintel and C20 boarded door; vertical ventilation slit to L. Later rubble extension advanced to L and stepped-down, with corrugated iron roof.
Berthoud Pass (elevation 11,307 feet) is a high mountain pass in the Rocky Mountains of central Colorado in the United States.
The pass is located west of Denver, and provides a high route between upper Clear Creek Canyon to the upper valley of the Fraser River in Middle Park to the north. The pass traverses the continental divide at the Front Range, on the border between Clear Creek County and Grand County.
The pass is named for Edward L. Berthoud, the chief surveyor of the Colorado Central Railroad during the 1870s. Accompanied by Jim Bridger, Berthoud discovered the pass in July 1861 while surveying a possible route for the railroad. Berthoud reported that the pass was suitable as a wagon road, but not as a railroad. The pass has steep grades on either side (6.3%), along with winding switchbacks and many tight spots.
The pass is currently the route of U.S. Highway 40, north of its junction with Interstate 70 in Clear Creek Canyon. It provides the fastest road access to Winter Park and a secondary route to Steamboat Springs from Denver and the Colorado Front Range. However, the pass is one of the most notoriously difficult passes in Colorado for motorists, based on its height as well as the large number of switchbacks on the southern side of the pass.
The information above comes from Wikipedia: en.wikipedia.org/wiki/Berthoud_Pass
8:52
Grab a coffee, or a glass of wine, & enjoy the story.....
Back country news, sadly, without notice, a landmark that has been the topic of stories, multitudes of finger points, guffaws, news paper stories, smiles and photographic entries to recorded history of “ person kind” has fallen in the past couple of days. It is widely believed it was a felled victim of the blade on the infamous and somewhat notorious snow plow guy. Gone from its domestic back country dominance is The Westover Shoe Tree! AKA Tree of Soles. It had seen many a season of weather extremes and wore its shoey armor with pride against it all. It had managed to dodge many a vehicle over the years including eighteen wheel floats laden with heavy earth moving equipment and snow ploughs considering its close proximity to the driven lane of the assumed roadway as it proudly, doggedly proclaimed its namesakes.
Numerous few, that visited the area, will sorely miss the feature landmark. Many will be lost without its security of direction for people coming to the hallowed areas. There may even be a candlelight (or its own gleaned firewood) vigil held at some point in the future. This famed tree of trees was proclaimed not only in the physical world but also on the very same telemetry formats used by jumbo jet and spaceward bound ships of the sky but also as a geo cache destination of assured biblical relevance. Also a captured defining feature on Google maps satellite.
Many have asked of its origins and purpose but until it was removed from its proud heritage perch the secret of the Westover shoetree has been a closely unguarded mystery. I have personally heard it used as a reference landmark from people as far away as Waterdown and even Stoney Creek. Many times while returning home or venturing forth from home here on the Westover road people admiring this domestic beacon of landmarks, unlike any other, contemplated its reasons of existence. There have been visitations of people proclaiming its existence digitally on the Face book and in analogue form for multitudes of reasons. No longer will it reflect light for its recording against the azure and vermillion skies of Westover. It lays at rest across a water feature of the Beverly swamp into patch of previous years bulrush growths describing its outline for all to see. Many other hamlets in the area were always jealous of the WST. Sad.
With the grace of God and Lady Beverly, now that the tree has fallen, it is time to safely reveal the shroud of its perplexing existence.
The plucky story behind this recently lost feature can now safely be spun err ugh told. It has been asked of the many shoes that have adorned its trunk, limbs and branches where all the shoes have come from? Many of the few questions will come to mind when I will hearken back to think of the lives touched by the proudly festooned specimen of wood. Very few know the story. I have tried to reveal the reason on many occasion. I have two stories on this tree and the other one is not believed either. A lot of laughs and giggles and some responses of disbelief, some that conveyed confusion and outright disbelief. Some have even thought profoundly, not said a word, but seemed to be thankful to know what many others had dismissed. Some would just have no part of it at all. Some have even embellished a rumored back story like the fish that gets an inch longer every time the story is told. Some have denied its existence while standing before it with a dismissing headshake. We will be awaiting files released by security of the secret MUFON knowledge. Ancient alien theorists have proclaimed that the tree had grown from a “sesame like” seed left over from a previous alien visitation millennia of millennia ago in a lunch bag carelessly discarded while on route to another galaxy. The CBC has been contacted and a future episode of Murdock Misteries could be in the works. (misspelled on purpose to avoid liability)
The story is a simple one and only somewhat spurious. Only half of the prevarications I tell are not true. “False news” is everywhere
Quite a few people walk in the beautiful HCA areas at the end of Westover road and the eighth concession here in West Flamborough and get too close to the tree with a secret. The tree has been a hazard due to the close proximity to the side of the road, or so we thought, the removal by arborist must have been just a little too hazardous. It has been dead and shedding its limbs and branches over the years but to no avail the city of Hamilton has declined its harvest. Maybe it is beyond the secrets that the shoes hold. If you have ever clapped eyes on this innocent landmark and the multitude of footwear recorded upon its features; moose headed slippers to work boots, formal clear acrylic rhinestone encrusted high heels to hip waders not to mention the wide assortment of flippies. The untold stories the shoes keep that have inspired many people will never be answered now. This tree is a match for even the bravest chipper shedder. Chainsaw shudder at its sight and run tail between legs.
BTW, FYI, exotic woman’s footwear such as satined high heels and extra high cut boots of faux- leather statements of past fashionistas do not remain as the tree seems to shed them in a couple days. Strange? Yes. I have often wondered where they had gone as they have left the area never to be seen again. Check this out, some shoes come and go but with the truth unlocked now it will become clear why. For a while I thought people were prying them from the tree and wearing them or regifting them. Maybe it was Vallue Village or as my sister calls it “ VV Boutique”
Little is known of the wormhole that exists within proximity of the surrounding area of the shoetree’s base. Herein lies the mystery. As people walk by it the mighty wormhole puts forth its increasable energy sucking people right out their shoes. The wormhole has a mysterious connection and an exit port in the Bermuda triangle. Upon finding the footwear passersby just figure that when the victim returns it would be nice for them to find their shoes, they were sucked out of. There for them to use upon returning through the wormhole. That’s the way it is in the back country here. Simple. Maybe that’s the reason it was never cut down in spite of the safety concerns to vehicular traffic. The beauty will be missed by many few. The shoes that did bestow a sort of Quasimodo compassion that improved its non leaf bearing, wood like appearance.
All things considered it was a very ugly tree. Maybe MUFON will tell its “me too” story? Yes, I don’t think so.
If you do come to the area to pay final respects beware of our local bigfoot, he’s harmless and wears dentures. It helps if you call him Ramone.
He is from BC. He has some mighty peculiar shower habits and prefers Old Port Colts Mild and extra hot turkey jerky. If you offer them
all things should turn out ok if his wife doesn’t see you that is.
The country side journalist
(AKA my next-door neighbour)
Notoriously haunted. We stayed here on a very clear night in September 2017, climbing Ben Alder and Beinn Bheoil. Awoken by noises in the night, but it was a mouse investigating a wrapper.
Rhesus macaque (Macaca mulatta) teasing dog (puppy) at Pench Tiger Reserve (buffer zone), Maharashtra
-FREE shipping to anywhere in the 48 states on high quality framed canvas for any photograph.
www.facebook.com/HisAndHerPhotographs
Thank you: Jonathan & Marlene
Photograph ID: 20181003.17.40-23
I've been rejecting the "social internet" and struggling to make some artwork when not doing school. This is a nice ghostly piece appearing in my new book with X1 Editions.
"A Rua Augusta é a rua mais animada de Lisboa. Fechada ao trânsito e pavimentada com calçada portuguesa, liga o Rossio à Praça do Comércio com várias lojas de marcas internacionais ao lado de outras mais antigas que ainda mantêm as fachadas originais.
Turistas misturam-se com artistas de rua, com vendedores de castanhas e até com os já conhecidos ciganos que se aproximam a oferecer óculos de sol e haxixe.
Pelo meio estão esplanadas e lojas turísticas, viradas para um arco triunfal que oferece uma vista panorâmica do topo"
.
"Lisbon's liveliest pedestrian street is paved with the traditional cobblestone designs and links the city's two main squares (Praça do Comércio and Rossio). It's a shopping street where international brands coexist with age-old shops, many of them with wonderful decades-old signs.
Tourists mix with street artists, roasted chestnut vendors, and the notorious Gypsies trying to sell you sunglasses and hashish.
In between it all are outdoor café tables and souvenir shops facing a triumphal arch, which offers a panoramic view from the top."
The replica black pirate ship "Notorious" was anchored at Jacobs Well last weekend so my friend Sue and I got in the tinnie and motored around it getting shots - Ive had fun this weekend being a little creative. She is currently berthed at Southbank in Brisbane for the Brisbane Festival so if you get a chance go and see her she is fabulous.
www.facebook.com/notorioustheship/ — with 'notorious'.
All my images are for sale
www.bethwodephotography.com.au/ or I can be contacted at bethwodephotography@gmail.com
The site is a former high school which was used as the notorious Security Prison 21 by the Khmer Rouge regime from its rise to power in 1975 to its fall in 1979. A horrible place ...
The quarry is located on a flat and desolate part of Dartmoor in the heart of a landscape scattered with granite boulders and old industrial ruins. There was once a rocky outcrop, known locally as a Foggin Tor, now there is just a vast and rugged pit filled with clear cold water. Decommissioned nearly 80 years ago, nature has had time to reclaim her own and turn the site back into a spectacular landscape that is beautiful in the sunshine and very gloomy and Gothic when the light fades and the fog roles in. It has become a popular destination but can be dangerous with drops of well over 100ft and many hidden chasms. This is an unmanaged (wild) destination without official paths, barriers or guides. Extreme caution is advised when visiting. Encompassing an area of 954 square kilometres (368 sq mi), Dartmoor is an area of natural moorland in the county of Devon, England. It is a designated National Park.
Foggintor was one of the three great granite quarries of Dartmoor, the other two being: Haytor, and Merrivale. During the early 1840s Foggintor Quarry supplied the granite that was used to build famous London landmarks such as Nelson’s Column and London Bridge. Locally it was used for a vast number of buildings including the famous Dartmoor Prison and nearby village of Princetown. Local railways were used to transport the granite and the remains of their track beds can still be used as convenient hiking trails.
Work started at Foggintor around 1820 and finished in 1938. For 118 years the quarry provided Britain with some of the finest building material available. What was once a thriving mining community with as many as 400 people is now just a memory but all around Foggintor the ruins and foundations of the buildings remind the visitor how important this site once was to the Victorians. The stones from the houses and mining office were reused to build North Hessary television mast.
Today Foggintor Quarry is used for a wide variety of outdoor adventure sports including rock climbing, abseiling, wild water swimming, scuba diving and hiking. The area is notorious for the cold winds that blow across the moorland but the lower levels of the quarry are usually very sheltered and silent. It has also become a refuge for small wildlife and birds.
Notoriously difficult to tell apart from the Marsh Tit but as Willow Tits are resident at this location, it makes the ID a bit easier. An on-line ID forum has also confirmed this as a Willow Tit.
Sadly they're on the RSPB's 'red list' as their numbers have and continue to decline. It is estimated that there are now only around 3400 breeding pairs in the UK. Compare that to the Blue Tit's 3.6 million breeding pairs and you can see that these little guys are thinly spread!
(Thectocercus acuticaudatus)
Pantanal
Brasil
I took this picture while "perched" in the middle of a big mango tree in a very uncomfortable position (a bit dangerous also) and the camera hand-helded as usual.
So I decided to use a higher shutter speed and let the ISO in automatic mode.
The result was this. Even after cleaning up its notorious a bit of grain, and now a posteriori I think the shutter speed was largely exaggerated, but was/is part of the self-learning.
Nevertheless I like the result and I hope you also enjoy it.
Thank you for all your comments and faves
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All my photos are now organized into sets by the country where they were taken, by taxonomic order, by family, by species (often with just one photo for the rarer ones), and by the date they were taken.
So, you may find:
- All the photos for this trip Brasil // Pantanal (2015) (263)
- All the photos for this order PSITTACIFORMES (110)
- All the photos for this family Psittacidae (Psitacídeos) (50)
- All the photos for this species Thectocercus acuticaudatus (2)
- All the photos taken this day 2015/09/16 (25)
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Notoriously, I find the month of March to be a landscape photography no-man’s land due to poor weather and light, not to mention seasonal change. This year has been no exception and that’s why I’ve pulled this image from the archives for this week’s Flickr upload. Taken back in 2013, this shot captures the evening sunlight beaming through the tree canopy to illuminate the bluebells stretching across the woodland floor. Thanks for looking – Mk.
Full sized recreation of a C1500 Portuguese caravel. Built Bushfield Victoria and launched Port Fairy Victoria 2011.
Took 10 years to construct entirely of reclaimed timber.
Inspired by the Mahogany Ship which was first sighted in the 1830s buried in sand dunes and not seen since 1886. The Mahogany Ship was alleged to be a Portuguese caravel which sailed the coast of Australia in the early 1520s.
The nitroglycerine prop turbines of the 2346 model of the Syko Flayer speederbike were notoriously unreliable.
Not for the 2017 Speederbike contest. Just for fun because I wanted to build a speederbike with those silly giant props, my LEGO is all over the floor, and the prospect of sorting makes me want to weep.
Joe Knowles (American 1869 -1942)
Oil on Canvas
Columbia Pacific Historical Society, Ilwaco, Washington.
Joe Knowles painted at a time when the Native American inhabitants of this region and their lifeways were still in living memory.
Sometimes a painting of an Indian and his dog looking out over the landscape of the mighty Columbia River at day's end is just that.
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We were at the Columbia Pacific Historical Society's current exhibit yesterday when I happened to glance upwards toward the room's high ceiling. I was astonished when my eyes made out a palace-sized painting in the gloom above the lights.
The style and subject matter told me the were the work of local artist Joe Knowles. My hunch was confirmed when I spotted his distinctive signature on the canvas.
How long had they been up there, and how many times had I been there without noticing them?
More importantly, where had they hung originally? I plan to ask the museum. Knowles was active here when the North Beach Peninsula was much more popular for its beach resorts than it is today. I am expecting the find out they were commissioned for public rooms in one of the old hotels.
It's fortunate the historical society could accommodate paintings of this size.
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Knowles, a skilled artist and relentless self-promoter moved to Seaview, Washington, after a notorious scandal on the East Coast.
He's been called one of the early reality performers. Before considering his art, it's worth exploring the chapter in his life that led him to pull up stakes back East and move to an isolated village on Washington's Long Beach Peninsula.
Here's the story.
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[In 1913], Joe Knowles stripped down to his jockstrap, said goodbye to civilization, and marched off into the woods to prove his survival skills. He was the reality star of his day. For eight weeks, rapt readers followed his adventures in the Boston Post. He returned home to a hero’s welcome. That’s when things got interesting.
The expedition began on a drizzly August morning, in a sort of no-man’s land outside tiny Eustis, Maine. The spot was some 30 miles removed from the nearest rail line, just north of Rangeley Lake, and east of the Quebec border. Knowles showed up at his starting point, the head of the Spencer Trail, wearing a brown suit and a necktie. A gaggle of reporters and hunting guides circled him.
Knowles stripped to his jockstrap. Someone handed him a smoke, cracking, “Here’s your last cigarette.” Knowles savored a few meditative drags. Then he tossed the butt on the ground, cried, “See you later, boys!,” and set off over a small hill named Bear Mountain, moving toward Spencer Lake, 3 or 4 miles away. As soon as he lost sight of his public, he lofted the jockstrap into the brush—so that he could enjoy, as he would later put it in one of his birch-bark dispatches, “the full freedom of the life I was to lead.”
If Knowles made himself sound like Tarzan, it was perhaps intentional. One of the most popular stories in Knowles’s day was Tarzan of the Apes, an Edgar Rice Burroughs novella. Published in 1912 in the pulp magazine All-Story, it starred a wild boy who goes “swinging naked through primeval forests.” The story was such a hit that in 1914 it was bound into book form.
Pulp magazines (so named because they were published on cheap wood-pulp paper) represented a new literary form, born in 1896. They offered working-class Americans an escape into rousing tales of life in the wilderness. Bearing titles like Argosy, Cavalier, and the Thrill Book, they took cues from Jack London, whose bestselling novels, among them The Call of the Wild (1903) and White Fang (1906), saw burly men testing their mettle in the wild. They were also influenced by Teddy Roosevelt, who insisted that modern man needed to avoid “over-sentimentality” and “over-softness” while living in cities. “Unless we keep the barbarian virtue,” Roosevelt argued, “gaining the civilized ones will be of little avail.”
On the morning of October 5, the Post’s front page blared, “KNOWLES, CLAD IN SKINS, COMES OUT OF THE FOREST.” A subhead continued, “Boston Artist, Two Months a ‘Primitive Man,’ Steps into the Twentieth Century near Megantic, Province of Québec.” Subsequent copy read, “Tanned like an Indian, almost black from exposure to the sun…. Scratched and bruised from head to foot by briars and underbrush…. Upper garment sleeveless. Had no underwear.”
Picked up nationwide, the Post’s piece explained that Knowles had just traversed the most inhospitable portion of the Maine woods, after which, when he had emerged on the outskirts of Megantic, he had made his first human contact—a young girl he had found standing by the railroad track. “And the child of 14, wild-eyed, stared at him,” the story said, “and into her mind came the memory of a picture of a man of the Stone Age in a history book.”
Not everyone believed the story. In late October, after he had returned to civilization, an editorial in the Hartford Courant wondered whether “the biggest fake of the century has been palmed off on a credulous public.” Meanwhile, a reporter from the rival Boston American had begun working on a long story about Knowles. The paper specialized in blockbuster exposés, and its investigative bloodhound, Bert Ford, had spent seven weeks combing the woods around Spencer Lake, aided in his research by a man he would call “one of the ablest trappers in Maine or Canada,” Henry E. Redmond.
On December 2, in a front-page article, Ford went public with the explosive allegation that Knowles was a liar. He zeroed in on Knowles’s alleged bear killing, noting that the Nature Man’s bear pit was but 4 feet wide and 3 feet deep. In boldface, the story asserted, “It would have been physically impossible to trap a bear of any age or size in it.” Knowles’s club was likewise damning evidence. Found leaning against a tree, it was a rotting stub of moosewood that Ford easily chipped with his fingernails.
According to the Boston American, Knowles had a manager in the Maine woods, and also a guide who bought the bearskin from a trapper for 12 dollars. The bear had not been mauled, but rather shot. “I found four holes in the bear skin,” Ford averred after meeting Knowles and studying the very coat he was wearing. “Experts say these were bullet holes.”
Ford argued that Knowles’s Maine adventure was in fact an “aboriginal layoff.” He wasn’t gutting fish and weaving bark shoes, as the Post’s dispatches suggested. Rather, he was lounging about in a log cabin at the foot of Spencer Lake and also occasionally entertaining a lady friend at a nearby cabin.
No matter; Knowles had gained the notoriety he needed to launch a national tour of speaking engagements, publish a book, and sell his artwork.
Prior to his notoriety for adventure, Knowles was an illustrator whose work graced the cover of numerous periodicals. The “Golden Age” of illustration was in full swing and Knowles’ artwork fit right in. By the early 1920s Knowles had settled in Seaview, Washington where he made his living from his paintings, prints and commissioned works.
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Notorious Y.I.P. is working on a revolutionary fuel cell that will one day change the auto industry. It will run on a lock of his Jackie Chan-esque hair.
ISO: 400
Shutter: 1/100 Seconds
Aperture: F/8
Camera: Canon 5D MK II
Lens: Canon 16-35mm F/2.8 MK II
Notoriously difficult to photograph 08567 which resides in Eastleigh Arlington railway works shuffles some single deck car flats in the works prior to collection by 66762 which worked them to Dagenham Dock reception sidings as the 6Z44 service on Wednesday 13 November 2024
The Queensland Government Printing Office (former) was located between George Street and William Street, south-east of Stephens Lane, between 1862 and 1983, and consisted of a number of buildings. As the first purpose-built government printing office in Queensland, the Government Printing Office played an important role in administration of the colony and then the state of Queensland. The former Government Printing Office complex, which demonstrates the quality and evolving styles of the work of the Colonial/Government Architect's Office between the 1870s and the 1910s, currently consists of two buildings, built over three different periods: a three storey brick building facing William Street constructed 1872-74; a three storey brick building erected along Stephens Lane between 1884-87; and a three storey brick extension to the Stephens Lane building, constructed along George Street between 1910-12.
A government printing office was required in Queensland after separation in 1859 when the establishment of the new Colonial Government generated a need for the printing of Hansard, the official report of the proceedings of the Houses of Parliament. Many other items were also printed on the premises, including postage stamps, Government Gazettes, Acts of Parliament, annual reports of departments, survey maps, text books, electoral rolls, school readers, and banknotes.
The dissemination of Hansard and other government information to the public is vital to the healthy operation of a democracy, ensuring that the business of parliament is accessible to all, and facilitating transparency regarding government decisions. The printing office was therefore integral to the operation of the Queensland Government - and its importance was reflected by its proximity to Parliament, the quality and scale of the printing office buildings, and the quality of the documents produced.
The Queensland Government Gazette was first printed by Theophilus Pugh, publisher of the Moreton Bay Courier. Pugh was replaced by William C Belbridge of the Queensland Guardian, who became the first official Government Printer by March 1862. That year the first purpose-designed government printing office in Queensland, a two storey timber building (not extant) designed by Queensland's first Colonial Architect, Charles Tiffin, was built facing William Street on a ridge running parallel to both William Street and George Street.
Since the 1820s the north bank of the Brisbane River and the adjacent ridgeline has featured a concentration of government and associated activities and uses. This ridge was the site of administration buildings for the Moreton Bay penal settlement, which relocated from Redcliffe to Brisbane, occupying this site from 1825-1839. When the penal settlement closed, the remnant infrastructure was used by surveyors as a basis for the layout for the new town of Brisbane. Set at right angles to the river, the prisoner's barracks determined Queen Street, while the line of buildings along the ridge determined William Street. Streets surveyed parallel to these streets, including George Street, formed Brisbane's rectangular grid. The house and kitchen of the Commandant of the penal settlement stood on land just south-east of the Government Printing Office, until the Commandant's buildings were demolished c.1861
While a range of buildings and activities occurred along George and William Streets after Free Settlement began in 1842, the government maintained its dominant presence in the area. At some sites, such as the Commissariat Stores and Botanical Gardens, earlier uses were continued. The establishment phase following the creation of Queensland in 1859 saw the new colonial government reserve land parcels and construct a range of buildings to facilitate its functions. The building of Government House and Parliament House along the eastern end of the George Street alignment in the 1860s firmly entrenched the physical reality of a government precinct in the area.
Due to this government precinct, the Government Printing Office's immediate neighbour to the north-west, the 1851 United Evangelical Church, became a government telegraph office in 1861; hence the naming of ‘Telegraph Lane' between the telegraph office and the printing office. This laneway from William Street to George Street was later renamed Stephens Lane.
As Queensland grew, so did demands on the Government Printing Office. The 1862 timber building was altered in 1863 and 1864, and in 1865 an ‘L' shaped three storey brick and stone building (not extant), also designed by Tiffin, was constructed to the rear (north-east), using day labour It included an underground cistern with a domed top (location unknown) and was connected to the 1862 building. By 1872 the complex included a small engine room, workshop and stables (none of which are extant) behind the 1865 building. That year James Beal (Government Printer 1867 to 1893) requested a new building to cope with the increased work of the Government Printing Office and in August 1872 the Secretary for Public Works recommended that Francis Drummond Greville (FDG) Stanley prepare a plan.
FDG Stanley immigrated to Queensland in 1861 and became one of the most prolific and well known Queensland architects of the late nineteenth century. In 1863 he became a clerk of works in the Office of the Colonial Architect. Upon Tiffin's retirement in 1872, Stanley became Colonial Architect, holding the position until 1881 when he entered private practice.
Stanley wanted the new building at the Government Printing Office to be constructed with machine-pressed bricks, which were not yet produced in Brisbane. At the time it was reported that he wanted ‘to provide as much accommodation as possible in a plain substantial building, without striving after architectural display. The structure, however...will have really a handsome and imposing appearance'. Tenders were called in October 1872 and the tender of John Petrie, for £4,751 plus £170 for machine pressed bricks and £50 for internal dressing, was accepted. The building included stone footings, brick walls, cast iron airbricks to the understorey and at the ceilings, cast iron columns (ground and first floors, front wing only), and water closets (WCs) and a lift at the end of the rear wing on each floor. The roof was steeply pitched to assist ventilation. Construction was estimated to take six months, but the new office was not completed until 1874, with delays being blamed on a shortage of bricklayers. The machinery was installed and gas lights were fitted by April 1874, and the finished cost was £5331/3/6
The front (William Street) wing of the new building stood on the site of the 1862 building, which had been demolished in late 1872. The new William Street building had an ‘L' shape and extended onto the (recently repurchased) land previously occupied by the Commandant's residence, wrapping around the south-east side of the 1865 building. It had an arcade to the street frontage of the ground floor, and the roof was covered in Welsh slate to reduce the risk of fire. Narrow rear verandahs were located on the north-west side of the first and second floors of the rear wing. The ground floor included a public counter, offices, newspaper room, and a large publishing room in the front wing, with a store in the rear wing. The first floor consisted of a composing room in the front wing, with a drying room in the rear wing; while the second floor contained a binding room in the front wing and a ruling room in the rear wing. It was connected to the 1865 building, which included a machine printing room on the ground floor, the engraving and lithographic work on the first floor, and machine ruling and book binding on the second floor.
In 1879 the neighbouring telegraph office (former church) was converted into the residence of the Government Printer, and in 1880 the engine room at the rear of the 1865 building was enlarged and the stables were demolished. More land was purchased in 1883, prior to further expansion of the Government Printing Office complex onto land to the south-east. A master plan for the Government Printing Office, drawn in 1884, planned a ‘U' shaped building along Telegraph Lane, George Street, and returning along the south-east side of the complex, wrapping around a new engine room. It also planned a replication of the William Street building on the other side of a ‘cart entrance' from William Street to the engine room, but this never occurred.
Instead, between 1884 and 1887 three new buildings were constructed, all by John Petrie: a three storey brick building along Telegraph Lane, with a short elevation to George Street; a two storey brick engine room (not extant) to the south-east; and a two storey brick Lithographic Office (not extant) south-east of the engine room. The 1880 engine room extension to the rear of the 1865 building was demolished around this time.
John Petrie's tender of £13,043 (initially for a two storey building on Telegraph Lane and the engine room) was accepted in July 1884, plus an extra £8000 in 1885 for the addition of a third storey to the Telegraph Lane building, plus the Lithographic Office. The Telegraph Lane building, which was separated from the 1865 building by a yard, included a basement; a machine room on the ground floor; reading rooms, fount, paper, material and store rooms on first floor; and a composing room on the second floor. The design has been attributed to John James Clark, Colonial Architect from 1883-85. The engine room was completed in late 1885, and housed steam engines and generators which supplied electricity for Queensland's Parliament House from 1886, plus smaller steam engines for powering the Government Printing Office's machinery. The other two new buildings were finished in early 1887.
Changes were later also made to the older buildings within the complex, including the addition of four cast iron columns on the first floor of the front wing of the William Street building in 1890; increasing the height of the 1865 building in 1891 to improve ventilation; and lowering the level of William Street in 1892, requiring construction of a concrete plinth to protect the foundations of the William Street building. In 1897 the brick wall between the public office and accountant's office in the William Street building was removed, with the addition of an extra iron column in its place. In 1900 zinc roof sheets on the flatter section of the roof of William Street building were replaced with galvanised rib and pans steel. In 1903 the level of Telegraph Lane, which by now had been renamed Stephens Lane, was lowered. Nearby, in 1901 the neighbouring former church was demolished to allow construction of an Executive Building which later became the Land Administration Building.
The ongoing development of the city and its wharves downstream from the original convict site meant that George Street had become more important than William Street by this time. A three storey brick extension of the Stephens Lane building along George Street, which became the new ‘front' for the Government Printing Office, was commenced in 1910, while an additional three storey brick extension (not extant) between the Stephens Lane building and the William Street building required the demolition of (with possible incorporation of parts of) the 1865 brick building. The George Street wing was built by Thomas Hiron, who tendered £21,450, while the Stephens Lane infill building was constructed by J Maskrey, who tendered £2896. The George Street wing was finished around mid 1912.
The 1910 plans for the George Street wing were signed by AB Brady, Government Architect, and by Andrew Irving, acting deputy Government Architect, while 1911 plans are signed by Thomas Pye, Deputy Government Architect. However, the design of the George Street wing has been attributed to Edwin Evan Smith, a draughtsman who had assisted Thomas Pye with the design of the Executive Building, and who later became the State Government Architect for Victoria. Smith, also a painter, potter and sculptor, and an examiner in modelling for the Brisbane Technical College, designed the sculptures on the building. These include two freestanding devils on the parapet above the main entrance and a relief carved devil's head, directly above the entrance. Traditionally, devils are a symbol of the printing trade, generally accepted as representing printer's apprentices.
These details were sculpted by well known Sydney sculptor, William P Macintosh who arrived in Sydney from Edinburgh in 1880 and from 1890 was Sydney's leading architectural sculptor. He received many commissions in New South Wales; his major work being the Queen Victoria Markets. Macintosh arrived in Brisbane in 1903 to complete his major Queensland work, the Executive Building, and was also responsible for the sculptural details on the former Government Savings Bank.
The George Street wing connected with both the 1887 Stephens Lane building and the 1887 Lithographic Office, forming a ‘U' around the engine room. It was symmetrical, with the main entrance in the centre and secondary entrances and stair halls either side of the central section. There was an electric lift adjacent to each stair hall, and a basement. Whereas the roof of the Stephens Lane wing was supported on timber queen bolt trusses, the George Street wing used timber queen post trusses; and while cast iron columns had been used to support the main floor beams in the Stephens Lane wing, hardwood columns were used in the George Street wing. It appears that the new building was considered a model for Government Printing Offices, as the South Australian Government Printer requested copies of the plan to assist in the design and extension of the Adelaide Printery building.
Two storeys were also added to the engine room c.1910, and its use appears to have changed at this time to include a Sterro Room and workshop on the ground floor; men's and women's clubs, dining rooms and lavatories on the first floor; reading rooms on the second floor; and lavatories and toilets on the third floor.
In 1910 plans the George Street wing's basement included stock rooms and a strong room; the ground floor (from the south-east to the north-west) contained an extension to the lithographic room (from the adjacent Lithographic Office), dispatch room, offices and a public counter; while the first floor contained another extension to the lithographic room plus bookbinding (an extension to the Stephens Lane wing's bookbinding floor). The second floor was used by compositors, in an extension of the function of the second floor of the Stephens Lane wing.
By this time the William Street building had been reduced to secondary or service functions, including printing of railway tickets. The ground floor was a store, the first floor was used as a machine ruling room, and the second floor was the artists and process workroom. Around this time new windows were inserted to the top floor and new dormers were added to the roof (all since removed), and the toilets and lift at the end of the rear wing were demolished. From the end of the first floor rear verandah, a gallery ran to the former engine room and the Lithographic Office.
In 1912 electricity was connected to all buildings on the site by the Edison and Swan United Electric Light Company Ltd. Various other improvements were made to the building over the years, including strengthening of the floors and installation of fire sprinklers. By 1916 there were three small, one-storey buildings (stores and a workshop, not extant) in the corner of the complex, located between the William Street building and the Lithographic Office. Soon afterwards, the importance of the Government Printing Office in disseminating information to the public was demonstrated. In November 1917 the Australian military conducted a night raid on the Government Printing Office to seize copies of Hansard which the Federal Government did not wish circulated, as they covered debates in the Queensland Parliament on military censorship and the conscription issue. The military also temporarily took possession of the Government Printing Office in August 1918, this time to prevent coverage of statements made in the Queensland Parliament about the treatment of Irish and German internees.
Changes to the site continued before and after World War II. In 1924 some of the roof slates of the William Street building were replaced with iron sheets, and more were replaced in 1933. In 1952 toilets were built at the rear of William Street building, and in 1959 the Lithographic Office was extended towards the engine room and a concrete floor was laid to most of the ground floor of the Stephens Lane wing. In 1970 a new metal-clad building (not extant) was constructed south-west of the Lithographic Office, demolishing the c.1916 workshop.
Meanwhile, the immediate post-war years of the late 1940s saw the Queensland Government begin to expand their activities considerably in Brisbane city. Most public servants were then located in the Treasury and Executive Buildings in George Street and in offices in Anzac Square. The shortage of office accommodation in the centre of Brisbane, and the need to address future requirements, led to a phase of governmental property acquisition in the city. The purchase of properties on George and William Streets between the Government Printing Office and Parliament House was a key focus, in addition to other acquisitions on Charlotte, Mary and Margaret Streets.
The consolidation of government ownership and usage along George and William streets led to a number of schemes being investigated by the state to further the development of a ‘government precinct'. By 1965, a masterplan had been developed that involved the demolition of all buildings between the old Executive Building and Parliament House, to enable the construction of three high-rise office buildings in a ‘plaza setting'. However, only one of these was built - between 1968 and 1971 a new Executive Building was constructed south-east of the Government Printing Office. By the early 1970s the 1960s plan for the precinct was considered no longer suitable and a number of other proposals for the area were explored.
A 1974 ‘George Street Masterplan' involved lower-rise buildings spread out over greater areas and the demolition of the Belle Vue Hotel and the Mansions. A major influence in ultimately shaping the layout of the area during the 1970s was the growing community support for the retention of older buildings within the government precinct, especially the Belle Vue Hotel and the Mansions. Spearheaded by the National Trust, the government-related associations and links between buildings, their architectural qualities, and aesthetic contributions to the area were highlighted in submissions to the government and in the public sphere. The unannounced June 1974 removal of the balconies of the Belle Vue Hotel was a deliberate action by the State government to degrade the visual appearance of the area, and drew further attention to the conservation cause.
In April 1979 Cabinet adopted a recommendation for a schedule of demolition work to further the development of the government precinct. The Belle Vue Hotel was to be demolished, but the Mansions and the original section of Harris Terrace were to be retained, renovated and adapted. On 21 April, three days after this decision, the Belle Vue Hotel was demolished in the early hours of the morning, a notorious event in the history of heritage conservation in Queensland.
The Government Printing Office moved to new premises in Woolloongabba in October 1983, and a number of former Government Printing Office buildings were demolished in 1986-87 to make way for a four storey Executive Annex, connected to the 1971 Executive Building, and a four-level underground car park. The Lithographic Office, former engine room, the two remaining c.1916 buildings, the 1970s building, the toilets at the rear of the William Street building and the Stephens Lane infill building were demolished. The construction of the car park under the site of the engine room and up to the south-east side and rear of the rear wing of the William Street building removed the remaining archaeological traces of the Commandant's cottage and kitchen with cellar, although the material was recorded by staff from the Queensland Museum. The Commandant's cottage and kitchen wing are defined in outline by contrasting coloured bricks and sandstone in the new paving laid in 1987. The remaining section of the Commandant's cottage would have been under the footprint of the rear wing of the William Street building, but construction of a small basement (c.1987) of reinforced concrete beneath the rear wing would have destroyed any surviving material.
In 1989 the Queensland Museum Sciencentre moved into the William Street building, and prior restoration and renovation work undertaken in 1986-88 included: the demolition of non-original dormer windows and restoration of the clerestory, reconstruction of the roof framing and replacement of the corrugated iron roofing with slate and galvanised steel sheeting, and reconstruction of the rear verandah. Removal, reconstruction or restoration of doors and windows took place, and some external openings were sealed, while some new windows and doors were inserted. The existing ground floor slab and flooring was replaced, along with sections of the front wing's timber flooring on the first and second floors. The rear wing's floors were replaced with reinforced concrete suspended slabs. Other strengthening of floors utilised steel beams and trusses, and all casements were replaced as pivot windows.
The George Street/Stephens Lane building was renovated between 1987 and 1991 with work including: replacement roof sheeting, the formation of new walls where the Stephens Lane infill building and Lithographic Office had been demolished, construction of a glass-walled arcade on the south-east wall of the Stephens Lane wing, a tiered theatre at the south-east end of the second floor of the George Street wing, removal of the original lifts in the George Street wing and installation of two new lifts and toilets at the George Street end of the Stephens Lane wing, a new stairwell at the south-west end of the Stephens Lane wing, plus a light court extension from the basement to the courtyard and a link from the basement to the underground car park.
The Sciencentre moved from the William Street building into the George Street/ Stephens Lane building in 1992, from where it operated until 2002. In 1993 the William Street building's interior was remodelled for commercial use as the Public Services Club, and in 2005-6 the George Street wing was refurbished for use by the Registrar of Births, Deaths and Marriages, with a complete new fit-out and closure of the main entrance.
In 2017, under the Queens Wharf Project, a major development in the central business district of Brisbane, both the Government Printing Offices and the Public Services Club were refitted and restored for commercial use.
Source: Queensland Heritage Register.
There are still quite a few of the pre-march photos I want to put up before I get to the march itself. Here are two young women with a sign supporting a great role model.
The Notorious is a replica fifteenth century caravel. The ship took ten years to build, made entirely from reclaimed timber. It was launched at Martins Point, Port Fairy, Victoria, Australia on Monday, 7 February 2011.[1] The Notorious was fitted with sails and conducted its first week-long journey from Port Fairy to Geelong in January 2012.[2]
The Notorious has been a project of Graeme Wylie and wife Felicite, who originally started the project in 2001. The inspiration for the ship was a local legend (or possible history) of the area where the Wylies lived, the Mahogany Ship. The story is that a Portuguese shipwreck had long been located in the area, and was still visible in the mid-1800s, but since has been covered over with sand.
Inspired by this legend, Wylie has spent twenty thousand dollars Australian, and thousands of man-hours, working on the ship. The ship has been carefully built based on period drawings of caravelles, as well as advice from historians.[3] The ship was known while under construction as the Raven, but christened the Notorious when launched in February 2011 at Martin's Point in Port Fairy, Victoria. Wylie is a keen sailor and a professional cabinetmaker.[4]
We waited around until after sunset to take this shot of the Notorious against the backdrop Brisbane city.