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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.
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 #
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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: 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.
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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.
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.
We had some help with the geocoding from Web Services by Yahoo!
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.
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.
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© Andi Libberton Bird
All Rights Reserved
"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.
"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.
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.
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.
"The Oaks" is stylish Art Deco block of flats, painted in beautiful buttercup yellow in the Melbourne suburb of Elsternwick.
Very contemporary in its design at the time of construction during the 1930s, "The Oaks" follows the uncluttered lines of Art Deco architecture that came out of England after the Great War (1914 - 1918). It features stylised chimneys, Functionalist windows and speed lines around the balconies.
Collection: A. D. White Architectural Photographs, Cornell University Library
Accession Number: 15/5/3090.01351
Title: Elne. Cloisters of the Cathedral of St. Eulalie
Building Date: ca. 1100-ca. 1199
Photograph date: ca. 1865-ca. 1895
Location: Europe: France; Elne
Materials: albumen print
Image: 6.4567 x 8.4646 in.; 16.4 x 21.5 cm
Style: Romanesque
Provenance: Gift of Andrew Dickson White
Persistent URI: http://hdl.handle.net/1813.001/5tj7
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 cottage style villa with its decorative gabling, leadlight windows, 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.
This villa still features its original rounded planter box beneath the front room's bay window. The current owners have added an extra splash of colour to their neat cottage garden by filling the planter box with pretty primulas and petunias in candy box shades. The pomegranite tree in the front garden, judging by its size, was probably planted when the house was first built back in the 1920s.
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.
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 "Our Candidates 1888" Portrait Handkerchief
Political Party: Democratic
Election Year: 1888
Date Made: 1888
Measurement: Handkerchief: 23 1/2 x 20 1/2 in.; 59.69 x 52.07 cm
Classification: Textiles
Persistent URI: http://hdl.handle.net/1813.001/5zz6
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: 1912 Democratic National Convention Admission Tickets
Political Party: Democratic-Republican
Election Year: 1912
Date Made: 1912
Classification: Ephemera
Persistent URI: http://hdl.handle.net/1813.001/61b5
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 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. Adding to its cottage like appearance, it features latticed leadlight windows. The black wrought-iron grille of curls enclosing the vestibule is very Spanish Mission in style.
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 chimney.
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 "daily" woman to assist the mistress of the house with any heavy chores to keep the villa well maintained.
This wonderfully stylised Art Deco villa in the Melbourne suburb of Preston has a large street frontage, and would have been home to a large family when first built.
Well proportioned, this stand alone villa has white stuccoed brick walls with picked out brown and red feature bricks in geometric patterns along the interconnecting walls and benath the eaves. This treatment can also be found on the side gate to the right of the photo and around the vestibule. The decorated brick edging around the portico can just be seen beyond the camelia at the left of the picture. It also features leadlight windows with a beautiful fan like geometric pattern picked out in frosted, bevilled and plain glass.
This house has a beautiful garden with a hedge of fish bone ferns in the bed beneath the window, geraniums to the right of the garden path, a manicured lawn and a large camelia covered in blossoms.
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.
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.
Styles & attitudes ...
Some glittering pieces of trend
Miss CHIARA FERRAGNI
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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.
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.
"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.
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.
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.
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.
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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Geometric Fashion Patterns 2012 -
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Geometric Fashion -
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.
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.
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.
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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, 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.