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1911-1922, Sidi Bou Said, Tunisia --- Sitting Room in Ennejma Ezzahra --- Image by © Massimo Listri/CORBIS
Styles and Attitudes ......
Some GEOMETRIC Patterns in Fashion
awesome Miss Nathalie Joss
#pfw16 # #paris #NathalieJoss #fashion #trend #geometricpatterns #geometry #streetstyleparis #streetstyle #mode #skirts #navystyle #colors #beauties #stylishpeople #
Standing well back from the street on a very large block behind an ornate wrought iron fence, this impressive Reformist (Arts and Crafts) style villa would have been built in the decade after Australian Federation in 1901.
The wonderful stepped central gable is very Arts and Crafts inspired, as is the shingling under the gable and the choice of a plain rough cast stuccoed rendering on the walls with minimal detailing. Unlike its more stylised Queen Anne neighbours, this villa has no stained glass in any of its windows, only leadlight panels set in large diamonds in the upper panes. This villa features a large, rounded vestibule canopy which is overgrown with ornamental creepers, giving the impression that the balcony on the upper floor is floating above the treetops.
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 villa appears to be no exception to the rule, with the main entrance to the house to the right hand side of the building.
This style of 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 very English, it would have shown respectable and not inconsiderable wealth.
Collection: A. D. White Architectural Photographs, Cornell University Library
Accession Number: 15/5/3090.01049
Title: Durham Cathedral
Building Date: 1093-1128
Photograph date: ca. 1865-ca. 1895
Location: Europe: United Kingdom; Durham
Materials: albumen print
Image: 11 1/2 x 9 1/2 in.; 29.21 x 24.13 cm
Provenance: Gift of Andrew Dickson White
Persistent URI: http://hdl.handle.net/1813.001/5t5s
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.
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Collection: A. D. White Architectural Photographs, Cornell University Library
Accession Number: 15/5/3090.01331
Title: Caen. Nave, Abbey Church of the Trinity, Abbaye aux Dames
Photographer: Neurdein Frères (French, active ca. 1863-1912)
Building Date: 1060-1080
Photograph date: ca. 1865-ca. 1895
Location: Europe: France; Caen
Materials: albumen print
Image: 10.3937 x 7.874 in.; 26.4 x 20 cm
Style: Norman Romanesque
Provenance: Transfer from the College of Architecture, Art and Planning
Persistent URI: http://hdl.handle.net/1813.001/5thn
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.
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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: Socialist Party Ribbon
Political Party: Socialist
Date Made: ca. 1900-1920
Measurement: Ribbon: 4 3/4 x 2 in.; 12.065 x 5.08 cm
Classification: Costume
Persistent URI: http://hdl.handle.net/1813.001/60d2
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.
Tibetan monks from Drepung Loseling Monastery making sand mandala
Western Carolina University; Cullowhee, NC
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: Garfield-Arthur Portrait Textile, ca. 1880
Political Party: Republican
Election Year: 1880
Date Made: ca. 1880
Measurement: Handkerchief: 19.25 x 21.5 in.; 48.895 x 54.61 cm
Classification: Textiles
Persistent URI: http://hdl.handle.net/1813.001/600w
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.
"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 is extremely large and sprawling, with its original garage next to it behind a high wall. The clean uncluttered lines of the house, the speed lines around the pedement of the rounded portico, feature bricks in geometric patterns and the overall low slung design of the house are very Streamline Moderne in design.
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.
The tree in blossom in this photograph is a prunus; a genus of trees and shrubs, which includes the plums, cherries, peaches, apricots and almonds. This is an ornamental variety, which burst into blossom almost a month before usual owing to an unusually warm spell of weather just prior to the photograph being taken.
Standing well back from the street on a very large block behind its original fence, this impressive Reformist (Arts and Crafts) style villa would have been built in the decade after Australian Federation in 1901.
The wonderful terracotta tiled roof is very Arts and Crafts inspired, as is the choice of a plain rough cast stuccoed rendering on the walls with minimal detailing. Red and brown brick detailing fans out above the arched upper gable windows, highlight the curves in the chimney nook and appear in a thick band around the base of the house. The curving of the chimney is also reflected in the entrance pillar and and unlike its more stylised Queen Anne neighbours, this villa has no stained glass in any of its windows, only leadlight panels set in large diamonds in the upper panes.
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 villa appears to be no exception to the rule, with the entrance to the house to the right hand side of the building.
This style of 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 very English, it would have shown respectable and not inconsiderable wealth.
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This neat Reformist (Arts and Crafts) style bungalow may be found in the Melbourne suburb of Essendon.
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 overall symmetrical design with its gabling is very in keeping with the Arts and Crafts Movement. However, decoration typical of the "Metroland" Art Deco period are starting to appear in the design: most notably in the feature brick detailing in geometric patterns around the portico entrance and the windows. Other features of this period include the low slung roofline, the striped black and white awings and the leadlight glass panes, which feature stylised geometric patterns more reminiscent of the Art Deco movement.
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 more modest bungalow like this built in one of the finer pockets of the suburb suggests that it was built for an aspiring middle-class family. The mistress of this bungalow would have required the assistance of a "daily" woman to help her maintain it.
Standing behind a neat picket fence, this Reformist (Arts and Crafts) style Edwardian villa would have been built in the decade after Australian Federation in 1901.
The wonderful stepped central gable is very Arts and Crafts inspired, as is its half timbered treatment. What is unusual is the choice of weatherboard for the construction, as most Arts and Crafts style homes tended to be built of brick. Unlike its more stylised Queen Anne neighbours, this villa has no stained glass in any of its windows, only leadlight panels set in rather geometric pattern in the upper panes of the bay window. It does however feature stylised Art Nouveau stained glass of flowers in an unusually shaped panel on the front door.
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 villa appears to have a more traditional floor plan, with a central hallway with the principal rooms off it to either side.
This style of house would have appealed to the merchant middle-classes of Ballarat whose money came from supporting the Nineteenth Century gold rush through commerce and industry well into the Twenthieth Century. Comfortable and very English, it would have shown respectable and not inconsiderable wealth.
This rag quilt has lots of bright and fun fabrics in spunky patterns with a punch here and there of some funky black and white polka dots.
This is a wonderfully stylised Art Deco 1920s villa on Eglington Street in the Melbourne suburb of Moonee Ponds.
Well proportioned, this neat, stand alone villa uses a mixture of facade treatments: red and brown brick banding, and stuccoed bricks painted in cream. The gable over the enclosed vestibule (which has now been converted into a small room with the inclusion of a matching stained glass window) has wonderful brick nogging on it. The villa also features pretty stained glass windows featuring geometric patterns.
This style of house would have appealed to the newly moneyed middle-classes who could finally afford to leave the inner city buy their own homes in the burgeoning suburbs. Comfortable and very English, it would have shown respectablity and moderate wealth without undue showiness.
This villa features a cottage garden of camelias, roses and hydrangeas amongst other plants. It is all enclosed by its original stuccoed brick fence and metal gate.
Moonee Ponds, like its neighbouring boroughs of Ascot Vale and Essendon, was etablished in the late 1880s and early 1890s. However, unlike its neighbours, it was an area of affluence and therefore only had middle-class, upper middle-class and some very wealthy citizens.
Collection: A. D. White Architectural Photographs, Cornell University Library
Accession Number: 15/5/3090.01651
Title: Murano. Cathedral of Santa Maria and San Donato
Photographer: Carlo Naya (Italian, 1816-1882)
Building Date: ca. 1100-ca. 1150
Photograph date: 1875
Location: Europe: Italy; Murano
Materials: albumen print
Image: 10.5118 x 13.7402 in.; 26.7 x 34.9 cm
Style: Romanesque
Provenance: Transfer from the College of Architecture, Art and Planning
Persistent URI: http://hdl.handle.net/1813.001/5tvp
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.
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I love abstract patterns - I find them so intriguing. I always try to work out how they were put together. I like to follow each line and see how all the lines join effortlessly together forming a beautiful pattern.
Please visit my blog at claudiaowen.wordpress.com/
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.
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The Ballaarat Club was established as a gentleman’s club along traditional London lines in 1872. Its founding members included some of Ballarat’s leading identities of the time such as Judge Robert Trench, Lieutenant Colonel Robert Rede (the army commander that put down the Eureka Rebellion), William Collard Smith (a mining entrepreneur and a mayor of Ballarat), and T. D. Wanliss (the proprietor of local newspaper the Ballarat Star). At the heart of the club was a desire to encourage social interaction between gentlemen from a similar social class. In the main, members of the club came from the professional, civic and pastoral elite. Many of Ballarat’s more established families have been well represented on past membership lists.
Early on in its life, the Ballaarat Club was housed in a variety of hotels in central Ballarat (including Craig's Royal Hotel) until its membership raised enough money to build its own clubhouse, which was completed in 1889.
The Baallarat Club clubhouse at 203 Dana Street is designed in Victorian Free Classical style. It features bay windows upstairs and down, a red brick facade with stonework detailing, large sash windows, archways and Italianate ballustrading. The clubhouse, which has only seen a few changes to its building and grounds over the years, remains largely intact and is one of the few buildings in Ballarat that still retains most of its past majesty. Interestingly, the clubhouse is a rarity in as much as the building was designed and purpose built as a clubhouse.
Ballarat is a Victorian provincial city built on the fortunes made through the mining of gold in the surrounding area, and at the time this house was built, Ballarat was one of the wealthiest cities in Australia, if not the world. Much work was done to build magnificent civic buildings, but the extravagance extended to domestic architecture and buildings for private functions such as the Ballaarat Club as well. This building would have been just such a statement of wealth and exclusivity, built on a grand scale and situated well back from the road.
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.
"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 is extremely large and sprawling, with its original garage next to it behind a high wall. The clean uncluttered lines of the house, the speed lines around the pedement of the rounded portico, feature bricks in geometric patterns and the overall low slung design of the house are very Streamline Moderne in design.
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.
The tree in blossom in this photograph is a prunus; a genus of trees and shrubs, which includes the plums, cherries, peaches, apricots and almonds. This is an ornamental variety, which burst into blossom almost a month before usual owing to an unusually warm spell of weather just prior to the photograph being taken.
Standing amid a well maintained garden of exotics and agapanthus, this substantial 1920s Art Deco villa in the provincial Victorian city of Ballarat, would have been for a larger sized upper-class family.
Built of honeyed clinker bricks with red and brown feature brick detailing, this sprawling house with its high gables is far simpler than some of its older late Victorian or Federation Queen Anne style neighbours, extolling the clean lines of the Art Deco movement so popular across Britain and her dominions during the 1920s and 1930s. Built in the years after the Great War (1914 - 1918), you can start to see the transition from Edwardian villa to the popular Californian Bungalow of the early 1920s. The overall design is very in keeping with the Arts and Crafts Movement. However, decoration typical of the "Metroland" Art Deco period are starting to appear in the design: most notably in the window design which features leadlight glass, rather than stained glass, in geometric patterns. This is most noticable in the centre bay window.
This style of 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 very English, it would have shown respectability and not inconsiderable 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 "Public Office A Public Trust" Portrait Handkerchief
Political Party: Democratic
Election Year: 1888
Date Made: ca. 1888
Measurement: Handkerchief: 21.25 x 24.5 in.; 53.975 x 62.23 cm
Classification: Textiles
Persistent URI: http://hdl.handle.net/1813.001/600f
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 different shapes and variety of geometric patterns on, and created by the buildings and hoarding caught my eye. Thames Path, North Greenwich, London.
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Geometric , Geometric Patterns , Geometric Pattern , Geometry , Patterns , crop circles , sacred geometry , Jai Deco , geometry , vinyl ,
Collection: A. D. White Architectural Photographs, Cornell University Library
Accession Number: 15/5/3090.01245
Title: Edinburgh. Saint Mary's Episcopal Cathedral, looking East
Photographer: George Washington Wilson (Scottish, 1823-1893)
Architect: Sir George Gilbert Scott (English, 1811-1878)
Building Date: 1874-1879
Photograph date: ca. 1865-ca. 1885
Location: Europe: United Kingdom; Edinburgh
Materials: albumen print
Image: 11 5/8 x 7 5/8 in.; 29.5275 x 19.3675 cm
Style: Gothic Revival
Provenance: Gift of Andrew Dickson White
Persistent URI: http://hdl.handle.net/1813.001/5tdq
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.
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Collection: A. D. White Architectural Photographs, Cornell University Library
Accession Number: 15/5/3090.01242
Title: Edinburgh. Saint Mary's Episcopal Cathedral, the Chancel
Photographer: George Washington Wilson (Scottish, 1823-1893)
Architect: Sir George Gilbert Scott (English, 1811-1878)
Building Date: 1874-1879
Photograph date: ca. 1865-ca. 1885
Location: Europe: United Kingdom; Edinburgh
Materials: albumen print
Image: 11 1/8 x 7 1/2 in.; 28.2575 x 19.05 cm
Style: Gothic Revival
Provenance: Gift of Andrew Dickson White
Persistent URI: http://hdl.handle.net/1813.001/5tdm
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!
Although not famous for its Art Deco architecture, the provincial Victorian city of Ballarat, which was established between the 1860s and 1880s when the area was at the centre of a gold rush, does have some fine examples of interwar and post war architecture when the gold boom was replaced with wealth generated through grazing and agriculture.
During the 1920s and 1930s, those people thriving from farming or local industry had plenty to spend in local shops. This wonderful Art Deco facade (circa 1925 - 1930) belongs to the PPL Building in Ballarat's main shopping thoroughfare, Sturt Street. Whilst the street level may have fallen victim to the changes in marketing, the upper floors remain unchanged by fickle owners. It still retains its striking minimalist Art Deco design. It features the building's name in a rounded cartouche on the building's corner facade which overlooks Albert Street. The PPL Building has a stylised stepped roofline, long spandrels with rounded edging and glass brick windows, all of which were popular architectural features of the Art Deco movement in the late 1920s and early 1930s. The rounded edges are very representative of the Streamline Moderne movement, and the building is everything a smart and successful business would want in the booming interwar years in Australia.
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.
One was occupied between 1889 and 1924 by the Reverend Dr Mathew, Minister of Coburg Presbyterian Church, and the property survived Melbourne's property bust of the 1890s and the new boom after Federation in 1901. However, its luck ran out during the Great Depression and the stables and outhouses were demolished during the early 1930s. The property was then turned into a cheap rooming house (as were so many other fine Victorian houses and mansions during this period of history). It remained so for nearly sixty years, and then it was sold. The new owners restored the property fully, and live in one half, whilst renting the other half out (which has now been converted into several modestly sized flats).
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 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 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.
One was occupied between 1889 and 1924 by the Reverend Dr Mathew, Minister of Coburg Presbyterian Church, and the property survived Melbourne's property bust of the 1890s and the new boom after Federation in 1901. However, its luck ran out during the Great Depression and the stables and outhouses were demolished during the early 1930s. The property was then turned into a cheap rooming house (as were so many other fine Victorian houses and mansions during this period of history). It remained so for nearly sixty years, and then it was sold. The new owners restored the property fully, and live in one half, whilst renting the other half out (which has now been converted into several modestly sized flats).
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.
Standing amid a well maintained garden of exotics and standard roses with a well clipped lawn, this substantial 1920s Art Deco villa in the Ballarat suburb of Wendouree, would have been for a larger sized upper-class family.
Built of honeyed clinker bricks with red and brown feature brick detailing, this sprawling house with its high gables is far simpler than some of its older Federation Queen Anne style neighbours, extolling the clean lines of the Art Deco movement so popular across Britain and her dominions during the 1920s and 1930s. Built in the years after the Great War (1914 - 1918), you can start to see the transition from Edwardian villa to the popular Californian Bungalow of the early 1920s. The overall design is very in keeping with the Arts and Crafts Movement. However, decoration typical of the "Metroland" Art Deco period are starting to appear in the design: most notably in the window design which features leadlight glass, rather than stained glass, in geometric patterns. This is most noticable in the centre bay window.
This style of 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 very English, it would have shown respectable and not inconsiderable 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.
"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 is extremely large and sprawling, with its original garage next to it behind a high wall. The clean uncluttered lines of the house, the speed lines around the pedement of the rounded portico, feature bricks in geometric patterns and the overall low slung design of the house are very Streamline Moderne in design.
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.
The tree in blossom in this photograph is a prunus; a genus of trees and shrubs, which includes the plums, cherries, peaches, apricots and almonds. This is an ornamental variety, which burst into blossom almost a month before usual owing to an unusually warm spell of weather just prior to the photograph being taken.
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"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 is extremely large and sprawling, with its original garage next to it behind a high wall. The clean uncluttered lines of the house, the speed lines around the pedement of the rounded portico, feature bricks in geometric patterns and the overall low slung design of the house are very Streamline Moderne in design.
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.
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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: 1912 Democratic National Convention Admission Tickets
Political Party: Democratic-Republican
Election Year: 1912
Date Made: 1912
Classification: Ephemera
Persistent URI: http://hdl.handle.net/1813.001/61b6
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.
Surrounded by a well kept lawn, this sprawling Reformist (Arts and Crafts) style bungalow may be found at the provincial Victorian city of Ballarat.
Built in the years just before the Great War (1914), you can just start to see the transition from Edwardian villa to the popular low slung Californian Bungalow of the early 1920s. Although now painted white, the choice of red and brown brick to construct the house is very in keeping with the Arts and Crafts Movement, as is roughcast treatment of the wall above the brick dado. Elements of the Art Deco period of the 1920s are making themselves known in elements of this villa. The prominent gable features a geometric brick pattern underneath the eave which would originally have been picked out as an ornamental feature. A matching geometric pattern may be seen on the original stuccoed brick garden wall that surrounds the property, where the red bricks can be seen to great effect against their grey roughcast background. The windows also contain geometric Art Deco designs, rather than the more fluid Art Nouveau stained glass found in other villas of this era.
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. However, this house's floor plan appears to be more traditional than others, with a central hallway off which the principal rooms were located.
This sizable house built on a large block in a prestigious street would have appealed to the moneyed middle-classes of Ballarat whose money came from the many businesses that boomed in the burgeoning city as a result of the Nineteenth Century gold rush. Comfortable and very English, it would have shown respectability and not inconsiderable wealth.