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Situated at 25 to 29 Barkly Street in the Victorian provincial city of Ballarat, the former East Ballarat Free Library is to this day, still an imposing building. When it was built in 1867, it must have been even more imposing, as it would have been one of only a few permanent structures in the area, which was filled with tents as the are was hit by goldmining fever.
The East Ballarat Free Library is not only imposing, but has an unusual design using polychromatic brickwork to define separate highly individual elements of the facade, rather like much of the Methodist Church architecture built during slightly later periods. The library is the only known work of the architect C. Ohlfsen Bagge, and dates from 1867. At that date it represents an early use of coloured brick-work in Victoria. The building is of architectural importance as an early example of the polychromatic Gothic Revival style which survives substantially intact with a number of fine interiors including the spiral staircase, the original library, the hall and the pine-lined rear rooms. The construction of the front section of the Barkly Street was completed in 1869. C. Ohlfsen-Bagge acted as honorary architect and the interior design and supervision as carried out by J. J. Lorenz. The builders were Boulton and Fyfe and the interiors were completed by Fly Brothers.
Established in 1862 the East Ballarat Free Library was amongst the earliest of Ballarat's social and educational institutions and when housed in its own building in Barkly Street, the library built up an outstanding collection which was second in Australia only to the State Library of Victoria . It served as a focal point for educational purposes; the school of design founded there in 1870 advancing to become the Ballarat East branch of the school of mines in the 1900s. The library was officially closed in 1973 after a life of 111 years. The books were taken to the Camp Street Library and the Ballarat Historical Society's exhibits were moved from Camp St to the Old Ballarat East Library. In 1980 the Ballarat School of Mines Council presented a proposal to the Ballarat City Council regarding occupying and managing the East Ballarat Free Library as a School of Traditional Crafts. The proposal included maintaining the building in optimum condition. In 1983, land formally occupied by the East Ballarat Free Library in Barkly St was gazetted as a reserve for educational purposes and allocated to the Ballarat School of Mines. In 1987 the former East Ballarat Library reopened after extensive renovations and repairs, as the Management Training Centre of the Ballarat School of Mines.
The facade of a pretty stylised cream stuccoed brick Art Deco villa in the north eastern country town of Alexandra.
This villa with its low slung tile roof, cream stucco work, and windows of geometrically patterned leadlight glass windows were very popular amongst the newly moneyed middle-class who could finally afford to buy their own homes. Comfortable and cottage like in the Metroland style of interwar Art Deco architecture so popular in Australia during the late 1920s, this house and many others like it represented stability and respectability, without being showy. It has a neighbouring sister villa painted in primrose yellow with slightly different windows, but the exact same layout.
Alexandra is a town in Victoria, Australia. It is located at the junction of the Goulburn Valley Highway (B340) and Maroondah Highway (B360), 26 kilometres west of Eildon. The town was settled in the late 1860s, with a Post Office opening on 15 March 1867 (known until 24 April 1867) as Redgate. The town was originally known as Redgate, or Red Gate Diggings. The current name either derives from Alexandra of Denmark (Queen’s Consort to King Edward VII of England) when given a stature of her to the shire; or from three men named Alexander (Alesander, McGregor, Alexander Don, and Alexander Luckie) who discovered gold in the area in 1866. Charles Jones born Herefordshire also discovered Gold on the Luckie Mine in 1866. He bought a Hotel with John Henry Osborne and was the proprietor of the New York and London Hotel Grant Street Alexandra. The railway to Alexandra arrived in the town via Yea from Tallarook in 1909, and closed on November 18, 1978. The Rubicon Tramway connected Alexandra with the village of Rubicon, at the junction of the Rubicon and Royston Rivers. Today many tourists pass through Alexandra on their way to the Mount Buller ski resort from Melbourne. The town contains the Timber Tramway and Museum (located at the Alexandra Railway Station), and the National Trust classified post office and law courts. There is a local market on the second Saturday of each month from September to May, an annual art show at Easter, an agricultural show and rose festival in November, and the annual Truck, Rod and Ute Show in June.
Collection: Cornell University Collection of Political Americana, Cornell University Library
Repository: Susan H. Douglas Political Americana Collection, #2214 Rare & Manuscript Collections, Cornell University Library, Cornell University
Title: Blaine-Logan Portrait Handkerchief, 1884
Political Party: Republican
Election Year: 1884
Date Made: ca. 1884
Measurement: Handkerchief: 18 x 19.25 in.; 45.72 x 48.895 cm
Classification: Textiles
Persistent URI: http://hdl.handle.net/1813.001/601c
There are no known U.S. copyright restrictions on this image. The digital file is owned by the Cornell University Library which is making it freely available with the request that, when possible, the Library be credited as its source.
Collection: Cornell University Collection of Political Americana, Cornell University Library
Repository: Susan H. Douglas Political Americana Collection, #2214 Rare & Manuscript Collections, Cornell University Library, Cornell University
Title: "Gen. Chester A. Arthur" Portrait Collar Box, ca. 1880
Political Party: Republican
Election Year: 1880
Date Made: ca. 1880
Measurement: Collar Box: 4.75 x 4.75 x 3.375 in.; 12.065 x 12.065 x 8.5725 cm
Classification: Decorative Arts
Persistent URI: http://hdl.handle.net/1813.001/5z0c
There are no known U.S. copyright restrictions on this image. The digital file is owned by the Cornell University Library which is making it freely available with the request that, when possible, the Library be credited as its source.
This wonderful Art Deco walnut case wireless radio was made by the New Zealand manufacturers, Temple. According to its serial number, it was made in 1935 and is very much typical of a wireless found in most middle-class homes during the 1930s. It has a pyramid case; still a popular shape after “Egyptomania” or “Tutmania” gripped the world after the discovery of Pharaoh Tutankhamen’s tomb in 1922. Its edges however, are rounded, hinting at the Streamline Moderne style so popular in the mid 1930s. Whilst the fine veneer is a warm walnut, the very Art Deco speaker grille and the two fin details on the front are made of stained blackwood. The manufacturer’s name is picked out in brass on red enamel above the convex glass dial and the lozenge knobs are of mottled chocolate brown Bakelite (an early form of plastic that came into everyday use in the 1920s and 30s). Worked with beautiful glass valves, this radio has to be allowed to warm up before use, but still works beautifully, sending forth a soft, slightly dappled sound that only wireless radios of this era and vintage can do. It can still pick up all AM radio stations as well as shortwave radio from around the world.
Private collection.
Located on Ballarat’s Doveton Street, the former Lutheran Church was built in 1876 to the grand designs of local Ballarat architect C. D. Figgis and was constructed by Taylor & Ellis.
The church building is architecturally quite striking with a formal composition with elements of a Ruskinian Italian Gothic style. It features with banded brick arches, Lombardic motifs and an attenuated version of a stepped arcaded corbel table leading to the central tower. The tall blind arcading of the tower is similar to the Campanile at Venice. The tower has an arcaded corbel table with trefoil arches, above which is a parapet with quatrefoil openings surmounted by a slate clad pyramidal roof. The lower part of the building consists of more conventional elements. There are two occuli in the gable ends flanking the tower and the banded Gothic openings have nail head brick label moulds. At the base of the tower there are two entrance doors under a Gothic banded arch surrounded by cream brick nail head moulding, and an outer Scotia label mould; these continue down to a low impost height and return horizontally as a string course across the facade. Banded Gothic openings and a patterned string course at low impost height lightens the heaviness of the red brickwork. The side elevation has the same nail head and Scotia string course at impost level rising up as stilted segmental arches over the double lancet windows in each of the five bays. The combination of unusual elements in patterned relief brickwork, and the imposing superimposed Venetian Campanile combine to make this a unique church composition.
Located on Coburg's elm lined and most prestigious street, The Grove, this property was one of the original buildings of the Moreland Park Estate.
Designed by T. J. Crouch in 1888, although it looks like one large high Victorian mansion, this property, is a clever piece of architectural trickery, and is in fact two semi-detatched double storey residences. This in no way suggests that they were small. Quite the contrary, each was of a substantial size with their own towers, stables and outbuildings, and would have suited a wealthy upper middle-class Victorian family. The houses have ornate ceilings, wide arches, marble mantelpieces, cedar paneling and Australian blackwood staircases.
Built of polychromatic bricks, each villa is a mirror to that of its neighbour with a return verandah featuring elegant cast iron lacework. The roof is made of slate tiles as is the hipped roof of the verandah. The brown and yellow bricks are constructed in a profusion of geometric designs, which even make the shared wall between the two villas a smart feature. All window sills are bluestone as is the foundation of the property. Perhaps its most outstanding features are the twin towers both of which are sixty feet in height, which make the property stand out for miles around. These towers are solidly built and are roofed with lead. They have railings and four large draped urns on each. The building is a landmark to the area and is referred to affectionately as "Coburg Castle".
This villa represents the brief initial period of development prior to the bust of the 1890s and subsequent housing boom of the early 20th Century, in which much of Coburg's residential development occurred.
The Grove, was part of the Moreland Park Estate. This was Coburg's most prestigious subdivision in the 1880s. In 1882 Charles Moreland Montague Dare, a St Kilda businessman, bought Jean Rennie's forty acre farm and, with his architect, T. J. Crouch, subdivided thirty acres of it into 147 allotments. The Grove was originally christened Moreland Grove after its owner. A covenant was placed on the subdivision prohibiting the building of hotels or shops, or any house under the value of 400 pounds. By 1890 there were twenty-four brick houses on the estate, twenty one of them owned by Charles Moreland Montague Dare himself. There was a caretaker to tend the streets, the wooden pavilion and the tennis courts, which soon became a bowling rink to suit the more sedate interests of the residents. Men of substance, including a banker, a merchant, a manufacturer and several civil servants and accountants lived on the estate and the Moreland Park Ladies' College in The Grove offered a genteel education. By the 1890s the Melbourne property boom had burst and by 1900 there were still only twenty seven houses in The Grove and many vacant allotments; Charles Moreland Montague Dare's own place at "Moreland Park", a ten acre property on Merri Creek, added to the rural atmosphere. In 1896 Dare fell into financial difficulties and had to transfer many of his properties to the Australian Widows' Fund Life Assurance Society. In 1900 he owned only seven houses, a few allotments and Moreland Park. He died in 1919.
This wonderful Metroland "Mock Tudor" Art Deco Villa can be found in the Melbourne suburb of Essendon.
Well proportioned, the stand alone villa with white painted stuccoed brick walls with picked out brown and red feature bricks in geometric patterns beneath the eaves and around the enclosed vestibule was very much the style of home that aspirational middle-class families in the 1920s saught. Cottage like in style, it is not too showy, yet represented the comfort and modernity that the burgeoning Australian middle-class wanted.
This house has a beautiful garden of old shrubs and ornamental trees, some of which may be part of the original plantings made back in the 1920s when the house was first built. The property is surrounded by the original low brick wall featuring brick nogging and cornices, which are echoed on the villa's "olde English" chimney.
This villa is almost exactly the same as another I found in Essendon on an earlier visit: www.flickr.com/photos/40262251@N03/6088446999 The only real differences are that this villa has different picked out brick patterns and that it has a latticed nook to the far left of the house, whereas the other villa has an arched window in the same shape.
Essendon was etablished in the 1860s and became an area of affluence and therefore only had middle-class, upper middle-class and some very wealthy citizens. A villa like this may have required the employment of a live-in maid or two to assist the mistress of the house keep the villa well maintained.
Collection: A. D. White Architectural Photographs, Cornell University Library
Accession Number: 15/5/3090.01356
Title: Saint-Amant-de-Boixe Abbey
Building Date: ca. 900-ca. 1099
Photograph date: ca. 1865-ca. 1895
Location: Europe: France; Charente
Materials: albumen print
Image: 8.937 x 7.2441 in.; 22.7 x 18.4 cm
Style: Romanesque
Provenance: Gift of Andrew Dickson White
Persistent URI: http://hdl.handle.net/1813.001/5tjf
There are no known copyright restrictions on this image. The digital file is owned by the Cornell University Library which is making it freely available with the request that, when possible, the Library be credited as its source.
We had some help with the geocoding from Web Services by Yahoo!
This wonderful Metroland "Mock Tudor" Art Deco Villa can be found in the Melbourne suburb of Essendon.
Well proportioned and set well back from the road, this large stand alone villa stands on the corner of two streets has a large street frontage, which suggests that it may have belonged to an upper-middle class family with more money than some of its smaller neighbours. The mistress of this house would have required the assistance of a "daily" woman if not a full time domestic to keep it maintained.
The villa features biscuit coloured stuccoed brick walls with picked out brown and red feature bricks in geometric patterns beneath the eaves, around the top of the gable and around the enclosed vestibule. The whole house has an exposed red and brown brick dado which helps the impressive chimney (featuring a brick nogging panel) to blend in. A spacious villa like this was very much the style of home that aspirational middle-class families in the 1920s saught. Cottage like in style, it is not too showy, yet represented the comfort and modernity that the burgeoning Australian middle-class wanted. Adding to its cottage like appearance, it features latticed leadlight windows.
This house has a beautiful garden of well kept lawns and old shrubs and ornamental trees, some of which may be part of the original plantings made back in the 1920s when the house was first built. The property is surrounded by the original low stuccoded brick wall featuring sunburst garden gates.
Essendon was etablished in the 1860s and became an area of affluence and therefore only had middle-class, upper middle-class and some very wealthy citizens.
Designed by local architectural firm Terry and Oakden, the former Wesleyan Church of Ballarat was constructed between 1883 and 1884. Built on the corner of Lydiard and Dana Streets, on the crest of a steep hill, the former Wesleyan Church is architecturally significant as an important and essentially intact example of the work of the prominent firm of architects Terry and Oakden.
The Gothic design of the former Wesleyan Church, which skilfully handles a difficult site, is important as a striking example of polychromatic brickwork. The elongated windows of the former Wesleyan Church, with geometric tracery, are also of significance for their notched brickwork diaper patterns, together with the horizontal wall banding the lozenge motifs.
The buildings are of historical significance as a symbol of faith and identity of the Wesleyan community in Ballarat, which was, at the time of construction, was one of the wealthiest cities in Victoria, indeed Australia, at the time.
The buildings are significant in their ability to indicate the aspirations and values of Wesleyans in the colony in the Nineteenth Century. Whilst Wesleyans typically constructed austere chapels, it is probable that this elaborate church at Ballarat was intended to be a symbol of the faith of Ballarat Wesleyans.
This wonderful Art Deco walnut case wireless radio was made by the New Zealand manufacturers, Temple. According to its serial number, it was made in 1935 and is very much typical of a wireless found in most middle-class homes during the 1930s. It has a pyramid case; still a popular shape after “Egyptomania” or “Tutmania” gripped the world after the discovery of Pharaoh Tutankhamen’s tomb in 1922. Its edges however, are rounded, hinting at the Streamline Moderne style so popular in the mid 1930s. Whilst the fine veneer is a warm walnut, the very Art Deco speaker grille and the two fin details on the front are made of stained blackwood. The manufacturer’s name is picked out in brass on red enamel above the convex glass dial and the lozenge knobs are of mottled chocolate brown Bakelite (an early form of plastic that came into everyday use in the 1920s and 30s). Worked with beautiful glass valves, this radio has to be allowed to warm up before use, but still works beautifully, sending forth a soft, slightly dappled sound that only wireless radios of this era and vintage can do. It can still pick up all AM radio stations as well as shortwave radio from around the world.
Private collection.
"Riawena" is a wonderfully stylised Streamline Moderne Art Deco Villa in the Melbourne suburb of Thornbury. Its name is taken from the Australian Aboriginal word for "fun" or "sport", which is an unusual choice in the 1930s, when so many people were naming their houses after English or American places.
The whole property is surrounded by a low fence with plain pillars and wrought-iron swirls inserts and a gate featuring a geometric Art Deco pattern.
Collection: Cornell University Collection of Political Americana, Cornell University Library
Repository: Susan H. Douglas Political Americana Collection, #2214 Rare & Manuscript Collections, Cornell University Library, Cornell University
Title: Cleveland-Stevenson "Union is Strength" Portrait Handkerchief
Political Party: Democratic
Election Year: 1892
Date Made: 1892
Measurement: Handkerchief: 19 x 18 in.; 48.26 x 45.72 cm
Classification: Textiles
Persistent URI: http://hdl.handle.net/1813.001/603c
There are no known U.S. copyright restrictions on this image. The digital file is owned by the Cornell University Library which is making it freely available with the request that, when possible, the Library be credited as its source.
GO HERE to my designs:
www.zazzle.com/urban_tribe_lace_up_keds_shoes-16784193187...
© Andi Libberton Bird
All Rights Reserved
Terracottas-'n'-Creme is my favorite flavor of snack cake.
What an opart!, of concrete blocks with triangular protrusions.
According to G'gle Streetvue, the terracotta-colored paint was applied sometime between June 2012 and September 2015. Before that, the whole wall was cream-colored.
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In downtown Zanesville, Ohio, on November 28th, 2020, the Travel Inn at the southeast corner of Market Street and North 6th Street. The motel was built in 1965.
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Getty Thesaurus of Geographic Names terms:
• Muskingum (county) (1002701)
• Zanesville (7014658)
Art & Architecture Thesaurus terms:
• awnings (300254200)
• blue (color) (300129361)
• concrete blocks (300374976)
• cream (color) (300266242)
• curtains (window hangings) (300037564)
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• Mid-Century Modernist (300343610)
• motels (300170888)
• paint (coating) (300015029)
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• terracotta (color) (300311186)
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Wikidata items:
• 28 November 2020 (Q57396995)
• 1960s in architecture (Q11185676)
• 1965 in architecture (Q2812393)
• Appalachian Ohio (Q14234625)
• Columbus–Marion–Zanesville, OH Combined Statistical Area (Q100701198)
• Congress Lands East of Scioto River (Q5160803)
• November 28 (Q3017)
• November 2020 (Q38575003)
• ornamental tree (Q33249028)
• Treaty of Greenville (Q767317)
Library of Congress Subject Headings:
• Business names (sh85018315)
• Concrete masonry (sh85030722)
• Geometry in architecture (sh00000156)
• Small business (sh85123568)
"Riawena" is a wonderfully stylised Streamline Moderne Art Deco Villa in the Melbourne suburb of Thornbury. Its name is taken from the Australian Aboriginal word for "fun" or "sport", which is an unusual choice in the 1930s, when so many people were naming their houses after English or American places.
Standing on the corner of a busy main thoroughfare and a much quieter side street, this well proportioned stand alone villa features the clean uncluttered lines of Streamline Moderne design, including windows of leadlight and stained glass set in geometric patterns.
Collection: Cornell University Collection of Political Americana, Cornell University Library
Repository: Susan H. Douglas Political Americana Collection, #2214 Rare & Manuscript Collections, Cornell University Library, Cornell University
Title: McKinley-Hobart "Protection Republican Prosperity" Portrait Handkerchief, ca. 1896
Political Party: Republican
Election Year: 1896
Date Made: ca. 1896
Measurement: Handkerchief: 23.25 x 18 in.; 59.055 x 45.72 cm
Classification: Textiles
Persistent URI: http://hdl.handle.net/1813.001/6014
There are no known U.S. copyright restrictions on this image. The digital file is owned by the Cornell University Library which is making it freely available with the request that, when possible, the Library be credited as its source.
Collection: Cornell University Collection of Political Americana, Cornell University Library
Repository: Susan H. Douglas Political Americana Collection, #2214 Rare & Manuscript Collections, Cornell University Library, Cornell University
Title: Hancock-English Portrait Handkerchief, ca. 1880
Political Party: Democratic
Election Year: 1880
Date Made: ca. 1880
Measurement: Handkerchief: 19.25 x 22 in.; 48.895 x 55.88 cm
Classification: Textiles
Persistent URI: http://hdl.handle.net/1813.001/6049
There are no known U.S. copyright restrictions on this image. The digital file is owned by the Cornell University Library which is making it freely available with the request that, when possible, the Library be credited as its source.
South Street by Wall Street (near Pier 11), NYC
by navema
January 1, 2010 - December 31, 2010
This 600-foot installation along a South Street construction fence features ribbon-like stitches of green and white materials woven in geometric patterns into wire mesh to evoke stems and vines. Colorfully painted spools and jar lids, all of which have been reclaimed or recycled, convey the "flowers" of this angular garden, which strategically allows visitors views of the East River as well as the esplanade project of the New York City Economic Development Corporation. The work, to be displayed for one year, is by artist Katherine Daniels and is presented by arts consultant BravinLee programs.
Re:Construction is a public art program produced by the Downtown Alliance. This initiative channels the energy of Downtown's rebuilding process by recasting construction sites as canvasses for innovative public art and architecture. Each project uses standard construction barriers to embrace the ongoing nature of Downtown’s redevelopment with original and whimsical design. The Downtown Alliance works closely with public and private developers to produce each installation.
For more info, visit: www.downtownny.com/reconstruction
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KATHERINE DANIELS
Growing up in West Virginia, Daniels’ first introduction to color, line and form came from her mother’s sewing and knitting. Now she sculpts with the materials and techniques of sewing that are second nature for her. She uses beads along with found, repurposed and recycled materials as her pallet. Daniels’ composition of an abstract flowering hedge embraces the idea of a garden path with visual rhythms of lines, colors and shapes for the viewer to move through. Ribbon-like stitches of green and white plastic fence weave have been woven into the wire mesh fencing and the installation is embellished with brightly painted spools, lids and flanges.
Katherine Daniels is a graduate of Rhode Island School of Design. She is a NYFA fellow who is working in NYC in a Chashama studio. The creation of this artwork has been made possible in part through a Chashama visual arts studio award.
Artist’s Statement:
“Outrageous elegance”, a Buddhist concept, describes a manner that is approachable by being neither too cold (elegance alone) nor too wild (outrageousness alone). This term is an apt description of the beauty, joy, humor and absurdity I strive for in my art. I am interested in grand visual and physical forms that introduce and induce awe and wonder. I make opulent abstract gardens that invoke spirit and paradise. I have been beading organic abstractions that descend from ceilings or ascend walls. They reference a mix of ornamental styles such as quilts from my Appalachian roots, the art of interior surfaces like rugs, Islamic and Asian textiles and screens, as well as environments that inspire awe such as the Sistine Chapel and the gardens at Versailles. My work induces pleasure by unabashedly embracing abstract ornament.
For more about the artist, visit: www.katherinedaniels.com/
Located on Ballarat’s Doveton Street, the former Lutheran Church was built in 1876 to the grand designs of local Ballarat architect C. D. Figgis and was constructed by Taylor & Ellis.
The church building is architecturally quite striking with a formal composition with elements of a Ruskinian Italian Gothic style. It features with banded brick arches, Lombardic motifs and an attenuated version of a stepped arcaded corbel table leading to the central tower. The tall blind arcading of the tower is similar to the Campanile at Venice. The tower has an arcaded corbel table with trefoil arches, above which is a parapet with quatrefoil openings surmounted by a slate clad pyramidal roof. The lower part of the building consists of more conventional elements. There are two occuli in the gable ends flanking the tower and the banded Gothic openings have nail head brick label moulds. At the base of the tower there are two entrance doors under a Gothic banded arch surrounded by cream brick nail head moulding, and an outer Scotia label mould; these continue down to a low impost height and return horizontally as a string course across the facade. Banded Gothic openings and a patterned string course at low impost height lightens the heaviness of the red brickwork. The side elevation has the same nail head and Scotia string course at impost level rising up as stilted segmental arches over the double lancet windows in each of the five bays. The combination of unusual elements in patterned relief brickwork, and the imposing superimposed Venetian Campanile combine to make this a unique church composition.
Situated on a large block, complete with tennis courts, behind its original low stuccoed brick wall, this large Inter-War Mediterranean style mansion may be found in the provincial Victorian city of Ballarat.
Built in the suburb of Wendouree in the late 1920s or early 1930s, this villa features classic Inter-War Mediterranean architectural features. These include the light coloured and subtly textured wall treatment, classical cast iron grillework, formal entrance with Ionic columns, balcony over the entrance and Georgian style fan detailing above the balcony door.
Inter-War Mediterranean style was a regionalisation of Georgian domestic architecture. The style was introduced to Australia by the Professor of Architecture of the University of Sydney, Leslie Wilkinson (1882 - 1973) in 1918 after perceiving a similarity in temperature between temperate coastal regions of Australia and European Mediterranean environments. Practitioners in this style usually had a very welathy clientele who wantes something a little more chic and European than the Spanish Mission style that came out of America at the same time.
This sizable house would have appealed to the moneyed upper-classes of Ballarat whose money came from either the Nineteenth Century gold rush, or from the wool or farming industries that developed post the boom. Comfortable and with pretentions of Hollywood glamour, it would have shown considerable wealth.
"Loreto" is a wonderful "Mock Tudor" Metroland Art Deco Villa in the Melbourne suburb of Essendon. It is named after a little Italian village. The name is written in very cursive script between the two windows on the right-hand side of the facade.
Well proportioned, "Loreto" is a stand alone villa with biscuit coloured stuccoed brick walls with picked out brown and red feature bricks in geometric patterns along the interconnecting walls and around the central porch. It also features leadlight windows with a beautiful Art Deco sunburst pattern picked out in frosted, bevilled and plain glass. However, one of its most impressive features is the red brick stepped chimney.
This house has a beautiful garden with any number of perenials including geraniums and salvias and exotics, some of which have probably been growing in the garden since the house was first built in the early 1920s. The whole property is surrounded by "Loreto's" original low brick wall featuring brick nogging.
Essendon was etablished in the 1860s and became an area of affluence and therefore only had middle-class, upper middle-class and some very wealthy citizens. Modern villas like these were very much the style of home that aspirational middle-class families in the 1920s saught. Cottage like in style, it is not too showy, yet represented the comfort and modernity that the burgeoning Australian middle-class wanted.
This impressive Reformist (Arts and Crafts) style bungalow, built in the Melbourne suburb of Essendon, has an extremely austere garden to allow the house to be fully on show.
Built in the years just before the Great War (1914), you can just start to see the transition from Edwardian villa to the popular Californian Bungalow of the early 1920s. The choice of red brick to construct the bungalow with is very in keeping with the Arts and Crafts Movement as are the latticed leadlight window panes. The builder has shown his admiration for the Arts and Crafts movement by making the bricks real features in their design and layout across the differing sections of the facade. The choice of decoration however is more leaning towards the Metroland style that became so popular on Californian bungalows in the early to mid 1920s - most noticably the geometric patterns on the piers and balustrade of the enclosed porch, and under the bay window. The bungalow still retains its original low brick garden wall.
Arts and Crafts houses challenged the formality of the mid and high Victorian styles that preceded it, and were often designed with uniquely angular floor plans. This house's floor plan appears to be more traditional than others, with a central hallway off which the principal rooms were located.
Essendon was etablished in the 1860s and became an area of affluence and therefore only had middle-class, upper middle-class and some very wealthy citizens. A large bungalow like this built in one of the finer pockets of the suburb suggests that it was built for an aspiring upper middle-class family. This bungalow would have required live-in domestics to help the mistress of the house maintain it for her family.
After the Great War (1914 - 1918), higher costs of living and the "servant problem" made living in the grand mansions and villas built in the Victorian and Edwardian eras a far less practical and attractive option for both those looking for new housing, and those who lived in big houses. It was around this time, in answer to these problems, that flats and apartments began to replace some larger houses, and became fashionable to live in.
This stylish Art Deco block of two flats, featuring one dwelling above the other with an interconnecting staircase would have suited those of comfortable means who could afford to live in Kooyong (the suburb in which these flats are located), and dispense with the difficulties of keeping a large retinue of staff.
This cottage style block of brown and red bricks with stylised stepped edgeing around the porch of the upper flat follow the less cluttered lines of Metroland Art Deco architecture that came out of England after the war. Even the windows have a Streamline Moderne upper pane divided into three sections. The upper flat, which is smaller, also has its own balcony to make up for its smaller size. There are potted plants along its edge to the right of the chimney breast. The flats have an equally stylised fence around them with two entrances; one for each flat.
After the Great War (1914 - 1918), higher costs of living and the "servant problem" made living in the grand mansions and villas built in the Victorian and Edwardian eras a far less practical and attractive option for both those looking for new housing, and those who lived in big houses. It was around this time, in answer to these problems, that flats and apartments began to replace some larger houses, and became fashionable to live in.
By the 1930s, stylish Art Deco flats like these, would have suited those of comfortable means who could afford to live in Essendon (the suburb in which these flats are located), and dispense with the difficulties of keeping a large retinue of staff. This block of four flats, featuring two dwellings above the others with an interconnecting staircase would have suited a small family, or perhaps a newly married couple for whom this would have been their first home.
This chic Streamline Moderne style building with its flat roof, white stuccoed brick walls, Functionalist windows, speed lines, rounded feature wall and stepped entrance follow the less cluttered lines of Metroland Art Deco architecture that came out of England after the war.
Essendon was established in the 1860s and became an area of affluence and therefore only had middle-class, upper middle-class and some very wealthy citizens.
This cottage style villa with its low slung tile roof in a mixture of shades, white stucco work and picked out brown and red feature bricks in geometric patterns may be found in the Melbourne suburb of Coonans Hill.
Houses like this were popular amongst the newly moneyed middle-class who could finally afford to buy their own homes. Comfortable and cottage like in the Metroland style of interwar Art Deco architecture so popular in Australia during the late 1920s, this house and many others like it represented stability and respectability, without being showy. The owners of this villa were obviously well off enough to have a motorcar as a small garage matching the house appears to the right of the photo at the end of a driveway. The garage sill features its original doors with small, square windows.
This house has an appropriately charming cottage garden with standard roses and a bird of paradise plant, which judging by its size, was probably planted when the house was first built.
Collection: Cornell University Collection of Political Americana, Cornell University Library
Repository: Susan H. Douglas Political Americana Collection, #2214 Rare & Manuscript Collections, Cornell University Library, Cornell University
Title: "McKinley and Hobart Gold Standard 1896" Ink Well
Political Party: Republican
Election Year: 1896
Date Made: 1896
Measurement: Inkwell (height): 4 in.; 10.16 cm
Classification: Decorative Arts
Persistent URI: http://hdl.handle.net/1813.001/5zgh
There are no known U.S. copyright restrictions on this image. The digital file is owned by the Cornell University Library which is making it freely available with the request that, when possible, the Library be credited as its source.
Situated on a large block, complete with tennis courts, behind its original low stuccoed brick wall, this large Inter-War Mediterranean style mansion may be found in the provincial Victorian city of Ballarat.
Built in the suburb of Wendouree in the late 1920s or early 1930s, this villa features classic Inter-War Mediterranean architectural features. These include the light coloured and subtly textured wall treatment, classical cast iron grillework, formal entrance with Ionic columns, balcony over the entrance and Georgian style fan detailing above the balcony door.
Inter-War Mediterranean style was a regionalisation of Georgian domestic architecture. The style was introduced to Australia by the Professor of Architecture of the University of Sydney, Leslie Wilkinson (1882 - 1973) in 1918 after perceiving a similarity in temperature between temperate coastal regions of Australia and European Mediterranean environments. Practitioners in this style usually had a very welathy clientele who wantes something a little more chic and European than the Spanish Mission style that came out of America at the same time.
This sizable house would have appealed to the moneyed upper-classes of Ballarat whose money came from either the Nineteenth Century gold rush, or from the wool or farming industries that developed post the boom. Comfortable and with pretentions of Hollywood glamour, it would have shown considerable wealth.
Situated on a large block, complete with tennis courts, behind its original low stuccoed brick wall, this large Inter-War Mediterranean style mansion may be found in the provincial Victorian city of Ballarat.
Built in the suburb of Wendouree in the late 1920s or early 1930s, this villa features classic Inter-War Mediterranean architectural features. These include the light coloured and subtly textured wall treatment, classical cast iron grillework, formal entrance with Ionic columns, balcony over the entrance and Georgian style fan detailing above the balcony door.
Inter-War Mediterranean style was a regionalisation of Georgian domestic architecture. The style was introduced to Australia by the Professor of Architecture of the University of Sydney, Leslie Wilkinson (1882 - 1973) in 1918 after perceiving a similarity in temperature between temperate coastal regions of Australia and European Mediterranean environments. Practitioners in this style usually had a very welathy clientele who wantes something a little more chic and European than the Spanish Mission style that came out of America at the same time.
This sizable house would have appealed to the moneyed upper-classes of Ballarat whose money came from either the Nineteenth Century gold rush, or from the wool or farming industries that developed post the boom. Comfortable and with pretentions of Hollywood glamour, it would have shown considerable wealth.
Collection: Cornell University Collection of Political Americana, Cornell University Library
Repository: Susan H. Douglas Political Americana Collection, #2214 Rare & Manuscript Collections, Cornell University Library, Cornell University
Title: Cleveland & Thurman 1888 Campaign Bandanna
Political Party: Democratic
Election Year: 1888
Date Made: 1888
Measurement: Handkerchief: 15 x 21.5 in.; 38.1 x 54.61 cm
Classification: Textiles
Persistent URI: http://hdl.handle.net/1813.001/6016
There are no known U.S. copyright restrictions on this image. The digital file is owned by the Cornell University Library which is making it freely available with the request that, when possible, the Library be credited as its source.
The facade of a pretty stylised white stuccoed brick Art Deco stand alone villa in the Melbourne suburb of Thornbury.
This cottage style with its low slung tile roof in a mixture of shades, white stucco work, picked out brown and red feature bricks in geometric patterns and geometric leadlight windows were very popular amongst the newly moneyed middle-class who could finally afford to buy their own homes. Comfortable and cottage like in the "Metroland" style of interwar Art Deco architecture so popular in Australia during the late 1920s, this house and many others like it represented stability and respectability, without being showy. The pillars are Spanish Misson style, an architectural movement also popular in Australia during the interwar years.
This house has a newly furbished garden with a hibiscus, a palm and a jade plant (also known as a "money tree") which is so mature that it may have been planted when the house was built. Succulents such as jade plants and other exotics were very popular in Australian gardens in the 1920s and 30s.
The colours are warm and cosy looking and the little wrap will also keep you warm albeit a little bright for me!!
Weekly Theme Challenge ~ Geometric Patterns
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