View allAll Photos Tagged geometricpatterns
This wonderful Metroland "Mock Tudor" Art Deco Villa can be found in the Melbourne suburb of Essendon.
Well proportioned and set well back from the road, this large stand alone villa stands on the corner of two streets has a large street frontage, which suggests that it may have belonged to an upper-middle class family with more money than some of its smaller neighbours. The mistress of this house would have required the assistance of a "daily" woman if not a full time domestic to keep it maintained.
The villa features biscuit coloured stuccoed brick walls with picked out brown and red feature bricks in geometric patterns beneath the eaves, around the top of the gable and around the enclosed vestibule. The whole house has an exposed red and brown brick dado which helps the impressive chimney (featuring a brick nogging panel) to blend in. A spacious villa like this was very much the style of home that aspirational middle-class families in the 1920s saught. Cottage like in style, it is not too showy, yet represented the comfort and modernity that the burgeoning Australian middle-class wanted. Adding to its cottage like appearance, it features latticed leadlight windows.
This house has a beautiful garden of well kept lawns and old shrubs and ornamental trees, some of which may be part of the original plantings made back in the 1920s when the house was first built. The property is surrounded by the original low stuccoded brick wall featuring sunburst garden gates.
Essendon was etablished in the 1860s and became an area of affluence and therefore only had middle-class, upper middle-class and some very wealthy citizens.
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.
Collection: Cornell University Collection of Political Americana, Cornell University Library
Repository: Susan H. Douglas Political Americana Collection, #2214 Rare & Manuscript Collections, Cornell University Library, Cornell University
Title: Cleveland-Stevenson "Union is Strength" Portrait Handkerchief
Political Party: Democratic
Election Year: 1892
Date Made: 1892
Measurement: Handkerchief: 19 x 18 in.; 48.26 x 45.72 cm
Classification: Textiles
Persistent URI: http://hdl.handle.net/1813.001/603c
There are no known U.S. copyright restrictions on this image. The digital file is owned by the Cornell University Library which is making it freely available with the request that, when possible, the Library be credited as its source.
GO HERE to my designs:
www.zazzle.com/urban_tribe_lace_up_keds_shoes-16784193187...
© Andi Libberton Bird
All Rights Reserved
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.
Collection: Cornell University Collection of Political Americana, Cornell University Library
Repository: Susan H. Douglas Political Americana Collection, #2214 Rare & Manuscript Collections, Cornell University Library, Cornell University
Title: McKinley-Hobart "Protection Republican Prosperity" Portrait Handkerchief, ca. 1896
Political Party: Republican
Election Year: 1896
Date Made: ca. 1896
Measurement: Handkerchief: 23.25 x 18 in.; 59.055 x 45.72 cm
Classification: Textiles
Persistent URI: http://hdl.handle.net/1813.001/6014
There are no known U.S. copyright restrictions on this image. The digital file is owned by the Cornell University Library which is making it freely available with the request that, when possible, the Library be credited as its source.
"Riawena" is a wonderfully stylised Streamline Moderne Art Deco Villa in the Melbourne suburb of Thornbury. Its name is taken from the Australian Aboriginal word for "fun" or "sport", which is an unusual choice in the 1930s, when so many people were naming their houses after English or American places.
Standing on the corner of a busy main thoroughfare and a much quieter side street, this well proportioned stand alone villa features the clean uncluttered lines of Streamline Moderne design, including windows of leadlight and stained glass set in geometric patterns.
Links steht ein gläserner Turm vor dem freien Himmel. Davor zieht die dunkle Fensterfront eines zweiten Gebäudes den Blick nach oben, während rechts ein helles Fassadenraster fast das ganze Bild ausfüllt. Die kühlen Blautöne und der enge Ausschnitt geben der Aufnahme einen grafischen, beinahe abstrakten Charakter. Gleichzeitig bleibt erkennbar, wie die Hochhäuser hintereinander gestaffelt sind. Kleine türkisfarbene Lichtstreifen in den Fenstern setzen einen unerwarteten Akzent.
English:
On the left, a glass tower rises against the open sky. In front of it, the dark windows of a second building draw the eye upwards, while a pale façade grid fills almost the entire right side. Cool blue tones and tight framing give the photograph a graphic, almost abstract quality. At the same time, the buildings remain clearly layered in space. Small turquoise strips of light in the windows add an unexpected accent.
The colours are warm and cosy looking and the little wrap will also keep you warm albeit a little bright for me!!
Weekly Theme Challenge ~ Geometric Patterns
Thanks to everyone who views this photo, adds a note, leaves a comment and of course BIG thanks to anyone who chooses to favourite my photo .... Thanks to you all.
This cottage style villa with its low slung tile roof in a mixture of shades, white stucco work and picked out brown and red feature bricks in geometric patterns may be found in the Melbourne suburb of Coonans Hill.
Houses like this were popular amongst the newly moneyed middle-class who could finally afford to buy their own homes. Comfortable and cottage like in the Metroland style of interwar Art Deco architecture so popular in Australia during the late 1920s, this house and many others like it represented stability and respectability, without being showy. The owners of this villa were obviously well off enough to have a motorcar as a small garage matching the house appears to the right of the photo at the end of a driveway. The garage sill features its original doors with small, square windows.
This house has an appropriately charming cottage garden with standard roses and a bird of paradise plant, which judging by its size, was probably planted when the house was first built.
This impressive Reformist (Arts and Crafts) style bungalow, built in the Melbourne suburb of Essendon, has an extremely austere garden to allow the house to be fully on show.
Built in the years just before the Great War (1914), you can just start to see the transition from Edwardian villa to the popular Californian Bungalow of the early 1920s. The choice of red brick to construct the bungalow with is very in keeping with the Arts and Crafts Movement as are the latticed leadlight window panes. The builder has shown his admiration for the Arts and Crafts movement by making the bricks real features in their design and layout across the differing sections of the facade. The choice of decoration however is more leaning towards the Metroland style that became so popular on Californian bungalows in the early to mid 1920s - most noticably the geometric patterns on the piers and balustrade of the enclosed porch, and under the bay window. The bungalow still retains its original low brick garden wall.
Arts and Crafts houses challenged the formality of the mid and high Victorian styles that preceded it, and were often designed with uniquely angular floor plans. This house's floor plan appears to be more traditional than others, with a central hallway off which the principal rooms were located.
Essendon was etablished in the 1860s and became an area of affluence and therefore only had middle-class, upper middle-class and some very wealthy citizens. A large bungalow like this built in one of the finer pockets of the suburb suggests that it was built for an aspiring upper middle-class family. This bungalow would have required live-in domestics to help the mistress of the house maintain it for her family.
Collection: Cornell University Collection of Political Americana, Cornell University Library
Repository: Susan H. Douglas Political Americana Collection, #2214 Rare & Manuscript Collections, Cornell University Library, Cornell University
Title: Hancock-English Portrait Handkerchief, ca. 1880
Political Party: Democratic
Election Year: 1880
Date Made: ca. 1880
Measurement: Handkerchief: 19.25 x 22 in.; 48.895 x 55.88 cm
Classification: Textiles
Persistent URI: http://hdl.handle.net/1813.001/6049
There are no known U.S. copyright restrictions on this image. The digital file is owned by the Cornell University Library which is making it freely available with the request that, when possible, the Library be credited as its source.
Collection: Cornell University Collection of Political Americana, Cornell University Library
Repository: Susan H. Douglas Political Americana Collection, #2214 Rare & Manuscript Collections, Cornell University Library, Cornell University
Title: "McKinley and Hobart Gold Standard 1896" Ink Well
Political Party: Republican
Election Year: 1896
Date Made: 1896
Measurement: Inkwell (height): 4 in.; 10.16 cm
Classification: Decorative Arts
Persistent URI: http://hdl.handle.net/1813.001/5zgh
There are no known U.S. copyright restrictions on this image. The digital file is owned by the Cornell University Library which is making it freely available with the request that, when possible, the Library be credited as its source.
The facade of a pretty stylised white stuccoed brick Art Deco stand alone villa in the Melbourne suburb of Thornbury.
This cottage style with its low slung tile roof in a mixture of shades, white stucco work, picked out brown and red feature bricks in geometric patterns and geometric leadlight windows were very popular amongst the newly moneyed middle-class who could finally afford to buy their own homes. Comfortable and cottage like in the "Metroland" style of interwar Art Deco architecture so popular in Australia during the late 1920s, this house and many others like it represented stability and respectability, without being showy. The pillars are Spanish Misson style, an architectural movement also popular in Australia during the interwar years.
This house has a newly furbished garden with a hibiscus, a palm and a jade plant (also known as a "money tree") which is so mature that it may have been planted when the house was built. Succulents such as jade plants and other exotics were very popular in Australian gardens in the 1920s and 30s.
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.
Collection: Cornell University Collection of Political Americana, Cornell University Library
Repository: Susan H. Douglas Political Americana Collection, #2214 Rare & Manuscript Collections, Cornell University Library, Cornell University
Title: Cleveland & Thurman 1888 Campaign Bandanna
Political Party: Democratic
Election Year: 1888
Date Made: 1888
Measurement: Handkerchief: 15 x 21.5 in.; 38.1 x 54.61 cm
Classification: Textiles
Persistent URI: http://hdl.handle.net/1813.001/6016
There are no known U.S. copyright restrictions on this image. The digital file is owned by the Cornell University Library which is making it freely available with the request that, when possible, the Library be credited as its source.
New downloadable seamless pattern (including both vector and bitmap files) now available on Creative Market.
"Loreto" is a wonderful "Mock Tudor" Metroland Art Deco Villa in the Melbourne suburb of Essendon. It is named after a little Italian village. The name is written in very cursive script between the two windows on the right-hand side of the facade.
Well proportioned, "Loreto" is a stand alone villa with biscuit coloured stuccoed brick walls with picked out brown and red feature bricks in geometric patterns along the interconnecting walls and around the central porch. It also features leadlight windows with a beautiful Art Deco sunburst pattern picked out in frosted, bevilled and plain glass. However, one of its most impressive features is the red brick stepped chimney.
This house has a beautiful garden with any number of perenials including geraniums and salvias and exotics, some of which have probably been growing in the garden since the house was first built in the early 1920s. The whole property is surrounded by "Loreto's" original low brick wall featuring brick nogging.
Essendon was etablished in the 1860s and became an area of affluence and therefore only had middle-class, upper middle-class and some very wealthy citizens. Modern villas like these were very much the style of home that aspirational middle-class families in the 1920s saught. Cottage like in style, it is not too showy, yet represented the comfort and modernity that the burgeoning Australian middle-class wanted.
After the Great War (1914 - 1918), higher costs of living and the "servant problem" made living in the grand mansions and villas built in the Victorian and Edwardian eras a far less practical and attractive option for both those looking for new housing, and those who lived in big houses. It was around this time, in answer to these problems, that flats and apartments began to replace some larger houses, and became fashionable to live in.
By the 1930s, stylish Art Deco flats like these, would have suited those of comfortable means who could afford to live in Essendon (the suburb in which these flats are located), and dispense with the difficulties of keeping a large retinue of staff. This block of four flats, featuring two dwellings above the others with an interconnecting staircase would have suited a small family, or perhaps a newly married couple for whom this would have been their first home.
This chic Streamline Moderne style building with its flat roof, white stuccoed brick walls, Functionalist windows, speed lines, rounded feature wall and stepped entrance follow the less cluttered lines of Metroland Art Deco architecture that came out of England after the war.
Essendon was established in the 1860s and became an area of affluence and therefore only had middle-class, upper middle-class and some very wealthy citizens.
This 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.
The brown was an ahem interesting choice of paint color for this but whatever, right? Did the wall formerly have globular light fixtures on its corners.
-----------------------
In downtown Huntington, Indiana, on November 7th, 2015, on the north side of West State Street, west of Cherry Street.
-----------------------
Getty Thesaurus of Geographic Names terms:
• Huntington (2032243)
• Huntington (county) (1002496)
Art & Architecture Thesaurus terms:
• brown (color) (300127490)
• concrete (300010737)
• corners (object portions) (300266471)
• freestanding walls (300078898)
• geometric patterns (300165213)
• Mid-Century Modernist (300343610)
• openwork (300253899)
• paint (coating) (300015029)
Wikidata items:
• 7 November 2015 (Q21411071)
• Fort Wayne–Huntington–Auburn Combined Statistical Area (Q57891214)
• Northern Indiana (Q7058433)
• November 7 (Q2989)
• November 2015 (Q16726268)
Library of Congress Subject Headings:
• Concrete walls (sh85030747)
After the Great War (1914 - 1918), higher costs of living and the "servant problem" made living in the grand mansions and villas built in the Victorian and Edwardian eras a far less practical and attractive option for both those looking for new housing, and those who lived in big houses. It was around this time, in answer to these problems, that flats and apartments began to replace some larger houses, and became fashionable to live in.
This stylish Art Deco block of two flats, featuring one dwelling above the other with an interconnecting staircase would have suited those of comfortable means who could afford to live in Kooyong (the suburb in which these flats are located), and dispense with the difficulties of keeping a large retinue of staff.
This cottage style block of brown and red bricks with stylised stepped edgeing around the porch of the upper flat follow the less cluttered lines of Metroland Art Deco architecture that came out of England after the war. Even the windows have a Streamline Moderne upper pane divided into three sections. The upper flat, which is smaller, also has its own balcony to make up for its smaller size. There are potted plants along its edge to the right of the chimney breast. The flats have an equally stylised fence around them with two entrances; one for each flat.
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.
Kimo Theatre
U.S. National Register of Historic Places
N.M. State Register of Cultural Properties
Albuquerque Historic Landmark
Location:423 Central Avenue NW, Albuquerque, New Mexico
Coordinates:35°5′5.99″N 106°39′7.11″WCoordinates: 35°5′5.99″N 106°39′7.11″W
Built:1927
Architect:Boller Brothers; Carl Boller
Architectural style:Pueblo Deco
Governing body:Private
NRHP Reference#:77000920 [1]
NMSRCP #:453
Significant dates
Added to NRHP:May 2, 1977
Designated NMSRCP:July 30, 1976
Interior of the KiMo Theatre
The KiMo Theatre is a theatre located at 423 Central Avenue NW in downtown Albuquerque, New Mexico and it is probably the city's best-known landmark. It was built in 1927 in the extravagant Art Deco-Pueblo Revival Style architecture, which is a blend of adobe building styles (rounded corners and edges), decorative motifs from indigenous cultures, and the soaring lines and linear repetition found in American Art Deco architecture.[2]
The KiMo was conceived by entrepreneur Oreste Bachechi and designed for him by Carl Boller of the Boller Brothers architecture firm, who conducted an extensive investigation into the cultures and building styles of the Southwest before submitting his design. The theater is a three-story stucco building with the stepped massing characteristic of native pueblo architecture, as well as the recessed spandrels and strong vertical thrust of Art Deco skyscrapers. Both the exterior and interior of the building incorporate a variety of indigenous motifs, like the row of terra cotta shields above the third-floor windows.
The name "KiMo" (literally translated as "mountain lion" in Tewa, and sometimes loosely translated as "king of its kind") was supplied by Isleta Pueblo Governor Pablo Abeita,[3] who won $50 for his suggestion.
By 1977, the theater had fallen into disrepair but was saved from the wrecking ball when voters approved a plan for the City of Albuquerque to purchase the structure. It has undergone several phases of continuing restoration to return it to its former glory and is once again open to the public for performances. The most recent preservation was completed in 2000 with the installation of new seating and carpet, main stage curtain, new tech booth, lighting positions hid between and behind "vigas" on the ceiling, and a re-creation of the KiMo's original proscenium arch.
The KiMo Theatre is rumored to be haunted by the ghost of Bobby Darnall, a six-year old boy killed when a water heater in the theater's lobby exploded in 1951. The theater staff maintains a space in a backstage stairwell for gifts and offerings in an attempt to "appease the spirit."[cite this quote] Some claim to have actually seen Bobby's ghost, clad in jeans and a striped shirt. An investigation by Benjamin Radford turned up evidence contradicting the origins of the haunting.[4]
From Wikipedia, the free encyclopedia
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.
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) belongs to a shop 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 Functionalist windows and Art Deco grillework. It features a central fin and has a stylised stepped roofline, both of which were popular architectural features of the Art Deco movement.
"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.
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: Bryan "The People's Money" Portrait Glass Mug with Lid, ca. 1896
Political Party: Democratic
Election Year: 1896
Date Made: ca. 1896
Measurement: Mug (height, with lid): 5.25 in.; 13.335 cm
Classification: Decorative Arts
Persistent URI: http://hdl.handle.net/1813.001/5z8b
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 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.
This impressive Reformist (Arts and Crafts) style villa in the inner northern Melbourne suburb of Essendon was built between Federation (1901) and the Great War (1914).
The choice of red brick to construct the villa with is very in keeping with the Arts and Crafts Movement, but hat makes this villa stand out from its neighbours is its picked out geometric brick patterns and its leadlight glass windows featuring a geometric pattern.
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. Not as large as its neighbours, a villa like this built in one suggests that it was built for an aspiring middle-class family . This villa would have required a live in maid to help her mistress, and probably the assistance of a "daily" woman to do all the harder chores.
Located on Coburg's elm lined and most prestigious street, The Grove, this property was one of the original buildings of the Moreland Park Estate.
Designed by T. J. Crouch in 1888, although it looks like one large high Victorian mansion, this property, is a clever piece of architectural trickery, and is in fact two semi-detatched double storey residences. This in no way suggests that they were small. Quite the contrary, each was of a substantial size with their own towers, stables and outbuildings, and would have suited a wealthy upper middle-class Victorian family. The houses have ornate ceilings, wide arches, marble mantelpieces, cedar paneling and Australian blackwood staircases.
Built of polychromatic bricks, each villa is a mirror to that of its neighbour with a return verandah featuring elegant cast iron lacework. The roof is made of slate tiles as is the hipped roof of the verandah. The brown and yellow bricks are constructed in a profusion of geometric designs, which even make the shared wall between the two villas a smart feature. All window sills are bluestone as is the foundation of the property. Perhaps its most outstanding features are the twin towers both of which are sixty feet in height, which make the property stand out for miles around. These towers are solidly built and are roofed with lead. They have railings and four large draped urns on each. The building is a landmark to the area and is referred to affectionately as "Coburg Castle".
This villa represents the brief initial period of development prior to the bust of the 1890s and subsequent housing boom of the early 20th Century, in which much of Coburg's residential development occurred.
The Grove, was part of the Moreland Park Estate. This was Coburg's most prestigious subdivision in the 1880s. In 1882 Charles Moreland Montague Dare, a St Kilda businessman, bought Jean Rennie's forty acre farm and, with his architect, T. J. Crouch, subdivided thirty acres of it into 147 allotments. The Grove was originally christened Moreland Grove after its owner. A covenant was placed on the subdivision prohibiting the building of hotels or shops, or any house under the value of 400 pounds. By 1890 there were twenty-four brick houses on the estate, twenty one of them owned by Charles Moreland Montague Dare himself. There was a caretaker to tend the streets, the wooden pavilion and the tennis courts, which soon became a bowling rink to suit the more sedate interests of the residents. Men of substance, including a banker, a merchant, a manufacturer and several civil servants and accountants lived on the estate and the Moreland Park Ladies' College in The Grove offered a genteel education. By the 1890s the Melbourne property boom had burst and by 1900 there were still only twenty seven houses in The Grove and many vacant allotments; Charles Moreland Montague Dare's own place at "Moreland Park", a ten acre property on Merri Creek, added to the rural atmosphere. In 1896 Dare fell into financial difficulties and had to transfer many of his properties to the Australian Widows' Fund Life Assurance Society. In 1900 he owned only seven houses, a few allotments and Moreland Park. He died in 1919.
This wonderful Metroland "Mock Tudor" Art Deco Villa can be found in the Melbourne suburb of Essendon.
Well proportioned and set well back from the road, this large stand alone double storey villa stands on the corner of two streets has a large street frontage, which suggests that it may have belonged to an upper-middle class family with more money than some of its smaller neighbours. The mistress of this house would have required the assistance of a a full time domestic, if not a whole retinue of servants to keep it maintained for her Edwardian large family.
The villa is built of decorative red and brown bricks with a panel of clinker and brown brick nogging at the apex of the eaves. There are also a stepped design in brick at the end of the eaves. To add to its cottage-like appearance and to make it a true "Mock Tudor" villa, the house features an enclosed vestibule of faux latticework in black and wattle-and-daub painted white.
A spacious villa like this was very much the style of home that aspirational middle-class families in the 1920s saught. Cottage like in style, it is not too showy, yet represented the comfort and modernity that the burgeoning Australian middle-class wanted.
This house has a beautiful garden of well kept lawns and old shrubs and ornamental trees, some of which may be part of the original plantings made back in the 1920s when the house was first built.
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.
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: Bryan "The People's Money" Portrait Glass Mug with Lid, ca. 1896
Political Party: Democratic
Election Year: 1896
Date Made: ca. 1896
Measurement: Mug (height, with lid): 5.25 in.; 13.335 cm
Classification: Decorative Arts
Persistent URI: http://hdl.handle.net/1813.001/5z89
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 wonderfully stylised "Metroland" Art Deco villa in the Melbourne suburb of Travancore has a large street frontage, and would have been home to a medium sized 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 around the central porch. It also features leadlight windows with a beautiful pattern picked out in frosted, bevilled and plain glass. A thin decorative panel featuring two curls appear above each window. The black wrought-iron grille of curls enclosing the vestibule is very Spanish Mission in style.
This house has a beautiful garden with any number of perenials including geraniums and salvias and exotics, some of which have probably been growing in the garden since the house was first built in the early 1920s.
Travancore is a bijou suburb named after a beautiful Victorian mansion erected in 1863. The mansion's grounds were subdivided in the late 1890s to form the new suburb, which consists only of only about five streets. With commanding views of Royal Park, the area was much sought after by aspiring middle and upper middle-class citizens. This spacious stand alone double brick residence would have been acquired by the former of these groups and is not as grand in size as some of its neighbours. Nonetheless, houses like these would have suited a medium sized family, and would still have required assistance from a full time servant and probably a "daily" woman to maintain.
Yea, pretty plants in a flowerbed at a wall of midcentury modern concrete blocks in terracotta-colored paint. This is a motel.
-----------------------
In downtown Zanesville, Ohio, on November 28th, 2020, at the Travel Inn at the southeast corner of Market Street and North 6th Street. The motel was built in 1965.
-----------------------
Getty Thesaurus of Geographic Names terms:
• Muskingum (county) (1002701)
• Zanesville (7014658)
Art & Architecture Thesaurus terms:
• concrete blocks (300374976)
• corners (attribute or configuration) (300404760)
• electric cables (300050615)
• electric conduits (300050645)
• exterior walls (300002523)
• geometric patterns (300165213)
• Mid-Century Modernist (300343610)
• motels (300170888)
• paint (coating) (300015029)
• peeling (300054127)
• plants (living organisms) (300132360)
• terracotta (color) (300311186)
• triangles (polygons) (300009806)
• weathering (300054115)
• white (color) (300129784)
Wikidata items:
• 28 November 2020 (Q57396995)
• 1960s in architecture (Q11185676)
• 1965 in architecture (Q2812393)
• Appalachian Ohio (Q14234625)
• Columbus–Marion–Zanesville, OH Combined Statistical Area (Q100701198)
• Congress Lands East of Scioto River (Q5160803)
• flowerbed (Q8564039)
• November 28 (Q3017)
• November 2020 (Q38575003)
• ornamental plant (Q199182)
• Treaty of Greenville (Q767317)
Library of Congress Subject Headings:
• Concrete masonry (sh85030722)
• Geometry in architecture (sh00000156)
This wonderful Metroland Art Deco Villa buried amid a lush garden may be found in the provincial city of Ballarat.
Well proportioned, this small stand alone villa of red brick features banding under the eaves of the building. There are also red feature bricks on the villa's three very tall stuccoed chimneys, and feature bricks over the archways of the porch. The archways enclosing the vestibule are Spanish Mission inspired.
The Spanish Mission style was typically a style that emerged in California during the interwar years and spread across the world.
This style of home was one that aspirational middle-class families in the 1920s sought. 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 modern appearance, it features geometric fan style Art Deco leadlight windows at the side and the latticed bay windows on the front facade.
Geometric , Geometric Patterns , Geometric Pattern , Geometry , Patterns , crop circles , sacred geometry , Jai Deco , geometry , vinyl ,
This splendid Reformist (Arts and Crafts) style villa is situated in one of the finer areas of the inner northern Melbourne suburb of Essendon. Built on the crest of a hill, it affords splendid views from its bay window and French doors, across the inner nothern and eastern suburbs of Melbourne all the way to the Dandenongs on the far east horizon.
Built between Federation (1901) and the Great War (1914), the wide shingled barge board beneath the eaves of the gable is very Arts and Crafts inspired, as is the choice of red brick to build the villa with. The latticed glass windows featuring blue stained glass diamond panes are also in keeping with the Arts and Crafts movement. The builder has shown his admiration for the Arts and Crafts movement by making the bricks real features in their design and layout across the differing sections of the facade.
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 is an example of a more traditional floor plan, featuring a central hallway off which the principal rooms were accessed.
Essendon was etablished in the 1860s and became an area of affluence and therefore only had middle-class, upper middle-class and some very wealthy citizens. A large villa like this built in one of the finer pockets of the suburb suggests that it was built for an aspiring upper middle-class family of some means. This villa would have required a small retinue of servants to maintain.
Located on Ballarat’s Doveton Street, the former Lutheran Church was built in 1876 to the grand designs of local Ballarat architect C. D. Figgis and was constructed by Taylor & Ellis.
The church building is architecturally quite striking with a formal composition with elements of a Ruskinian Italian Gothic style. It features with banded brick arches, Lombardic motifs and an attenuated version of a stepped arcaded corbel table leading to the central tower. The tall blind arcading of the tower is similar to the Campanile at Venice. The tower has an arcaded corbel table with trefoil arches, above which is a parapet with quatrefoil openings surmounted by a slate clad pyramidal roof. The lower part of the building consists of more conventional elements. There are two occuli in the gable ends flanking the tower and the banded Gothic openings have nail head brick label moulds. At the base of the tower there are two entrance doors under a Gothic banded arch surrounded by cream brick nail head moulding, and an outer Scotia label mould; these continue down to a low impost height and return horizontally as a string course across the facade. Banded Gothic openings and a patterned string course at low impost height lightens the heaviness of the red brickwork. The side elevation has the same nail head and Scotia string course at impost level rising up as stilted segmental arches over the double lancet windows in each of the five bays. The combination of unusual elements in patterned relief brickwork, and the imposing superimposed Venetian Campanile combine to make this a unique church composition.
Situated on a large block, complete with tennis courts, behind its original low stuccoed brick wall, this large Inter-War Mediterranean style mansion may be found in the provincial Victorian city of Ballarat.
Built in the suburb of Wendouree in the late 1920s or early 1930s, this villa features classic Inter-War Mediterranean architectural features. These include the light coloured and subtly textured wall treatment, classical cast iron grillework, formal entrance with Ionic columns, balcony over the entrance and Georgian style fan detailing above the balcony door.
Inter-War Mediterranean style was a regionalisation of Georgian domestic architecture. The style was introduced to Australia by the Professor of Architecture of the University of Sydney, Leslie Wilkinson (1882 - 1973) in 1918 after perceiving a similarity in temperature between temperate coastal regions of Australia and European Mediterranean environments. Practitioners in this style usually had a very welathy clientele who wantes something a little more chic and European than the Spanish Mission style that came out of America at the same time.
This sizable house would have appealed to the moneyed upper-classes of Ballarat whose money came from either the Nineteenth Century gold rush, or from the wool or farming industries that developed post the boom. Comfortable and with pretentions of Hollywood glamour, it would have shown considerable wealth.