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To those who asked, thank you, yes, I'm doing very well. I took a long break while I was moving and looking for a new home. I was "homeless" for a couple of months, but now I am mortgage-free and living in a very nice home with my sister, so semi-retirement is a lot easier. I am quite busy with family and looking after two of my grandkids, as well as relaxing and still doing some renos. It was good to take the break. I was uninspired for a while, but I made some good sales the past couple of months,so - waterdrops it is! This is what sells for me, so you will be seeing a lot of these in the next while as long as I can keep inspired and come up with new stuff. I don't return comments as frequently as I used to. I don't have as much time as before.
Thank you so much for your support, even when I wasn't around much. Your kindness is appreciated and I have made some treasured friends here.
A beautiful reflection of the cute houses in one area of ReykjavÃk. But the two-for-one concept of this reflection only applies to the mortgage that some are paying these days.
I was driving past this place with the intention of taking some pictures by the little marina which is very close by. I saw the reflection with the corner of my eye, stepped on the brake, drove in reverse gear, and left the car running (where it wouldn't be hit), and took this shot. It's just a big puddle after the rain.
Exif: ISO 100 ; f/5.6 ; 1/320 ; @14mm
also called: Red Mary's (Máire Rua) House
The manor house was erected in 1648 by Conor O'Brien and his wife, Máire nà Mahon, one of the most infamous women in Irish folklore who, due to her flaming red hair, was commonly known as "Máire Rúa" (Red Mary). Conor, was another member of the large O'Brien family which had ruled much of Clare for several hundred years. She born in 1615 or 1616. Her father was Sir Torlach Rúa MacMahon, Lord of Clonderlaw and her mother was Lady Mary O'Brien, daughter of the third Earl of Thomond. Her first husband, Daniel O'Neylan (also written O'Neillan) of Dysert O'Dea Castle in north Clare died young and upon his death, she gained control of his substantial estate and a £1,000 fortune. This wealth enabled her and Conor to build a more comfortable mansion on to the tower house. It was, without doubt, Clare's most magnificent seventeenth century house. The multi-gabled manor house was very modern for its time.
In 1651 Conor was killed in battle against the Cromwellians. His widow realized that the punishment for his rebellion against the English would be the forfeiture of their property. Therefore, in a desperate attempt to retain her lands and estates, she offered to marry any Cromwellian officer who would take her hand. (This is refuted in other versions of the story which state that Máire Rúa didn't marry until 1653, two years after Conor's death.)
Her third husband, Cornet John Cooper was a Cromwellian soldier and through this marriage Máire Rúa successfully retained her estates. Cooper left the army and amassed some wealth through land and property speculation. However, he later ran into financial difficulty and, as a result, Leamaneh was mortgaged.
This part of Red Hill was surveyed and subdivided into suburban portions in the 1860s. The site on which the Skate Arena is situated was part of portion 737, on the southern side of Enoggera Terrace at the junction with Musgrave Road, alienated by George Mannion in 1870. Mannion Street, at the rear of the Skate Arena, is likely to have been named after him. By the late 1880s, portion 737 had been subdivided into smaller residential allotments. From 1889 until 1920, subdivisions 14 to 28 remained on one title, passing through several owners, until title to subdivisions 22-27, near the intersection with Musgrave Road, was transferred to Red Hill Picture Pops Ltd. A number of rental houses had been erected along Enoggera Terrace between Musgrave Road and Jay Street, but it is not clear whether there were any extant buildings on the site acquired by Red Hill Picture Pops Ltd in 1920. During this period, Enoggera Terrace continued to be a social hub of Red Hill with the Ithaca Town Chambers, numerous shops, and other services such as halls and the police station situated along the street.
In 1920 an open-air ‘picture palace’ was already established on Enoggera Terrace, on the opposite northern side of the road, at the corner of Waterworks Road. This picture show functioned from 1912 until replaced by Red Hill Picture Pops Ltd.’s new theatre on the other side of the road, 1920 - 1921. In December 1920, the titles office recorded a bill of mortgage on subdivisions 22-27, portion 737 for £1,500, taken out by Red Hill Picture Pops Limited from The Public Curator of Queensland. It is possible this helped to finance construction of the new theatre, which is first listed in the Post Office street directories in 1921.
A 1924 photograph shows the Red Hill Picture Pops theatre as a large, gable-roofed structure with full length ridge ventilator and a modest façade, on a prominent location on Enoggera Terrace. By March 1925, at least part of the theatre was of brick construction, the western brick wall of the theatre suffering damage from water running off the adjacent Red Hill Police Station site at the corner of Musgrave Road and Enoggera Terrace. In late 1927, the front of the theatre was remodelled at a cost of £380, with the addition of shops. Plans were prepared by Brisbane architect RT Erskine, and the contractor was W Tinnerman.
A 1932 sewerage detail plan indicates that the structure occupied the whole of subdivisions 24-27, with the walls erected to the perimeter. This plan also indicates the buttresses located on subdivisions 22 and 23, along the western side of the theatre, where the land falls steeply.
Through the 1920s and into the early 1930s, Alfred "Bertie" E Moore was secretary of Red Hill Picture Pops Ltd. and manager of the theatre. The Moore family lived on Waterworks Road, initially just past Church Street from 1907 - 1911, moving to the corner of Waterworks Road and Enoggera Terrace 1911/1912 - about the same time the open-air picture theatre was established next door on Enoggera Terrace. It is likely Bertie Moore was associated with this first picture theatre as well as the 1920 hardtop. Long-time residents of Red Hill have recalled that in the late 1920s and early 1930s, Mrs Moore sold the theatre tickets from an island ticket box in the front foyer. For the evening shows, Bertie Moore always wore a dinner suit and his wife an evening gown with a fresh rose pinned on the shoulder. Apparently, they kept a tight rein on their often unruly audiences, and a slogan in the foyer read: If you like the program tell your friends, if you do not like it, tell us.
By June 1930, ‘talkie apparatus’ had been installed at the Pops Picture Theatre on Enoggera Terrace. Following the release of Warner Brother’s first talking picture, The Jazz Singer, in 1927, cinemas world-wide either converted to sound or closed down. Sound projection leasing or purchasing arrangements were often exorbitantly high, and many Queensland suburban and rural exhibitors who committed themselves to very expensive sound projection plant at this period, over capitalised, were burdened with running costs, and did not survive the economic depression of the early 1930s.
There were approximately 200 picture theatres in Queensland in the 1930s, of which 54, or about 25%, were located in Brisbane. This was the period when most Brisbane suburbs had at least one picture theatre, if not more, and competition for audiences was strong. The Red Hill Picture Pops’ closest competitors were the Plaza Theatre on Latrobe Terrace (opened circa 1930) and Stephens’ New Paddington Theatre, erected on Given Terrace 1924.
In 1931 Red Hill Picture Pops Ltd, possibly struggling to survive the depression and the costs of sound installation, or perhaps renovating the building, took out a second mortgage on the theatre from Richard Francis Stephens, who was associated with the Stephens-Munro chain of suburban theatres on Brisbane’s north side. Stephens- Munro ultimately acquired six theatres - the Astor at New Farm, the Imperial at Lutwyche, the Savoy at Clayfield, the Paddington on Given Terrace, the Arcadia at Ascot, and the Jubilee at Toowong - and subsidised other small suburban exhibitors like the Red Hill Picture Pops. It is possible the connection with RF Stephens gave Red Hill Picture Pops Ltd greater bargaining status at the major film distributors’ Brisbane film exchanges.
In November 1934, the Red Hill Picture Pops theatre was leased to William Edward Kirby, who eventually gained title to the property early in 1944. Kirby had changed the name of the place to The State Theatre by 1937, and by 1938 the theatre had a seating capacity of 640. In 1948 title passed to State Theatres Pty Ltd, with Kirby still the exhibitor, and renovations were undertaken in 1950. In 1951, State Theatres Pty Ltd sold subdivisions 22 and 23, the two vacant blocks along the western side of the theatre, with a 1952 easement in their favour over a strip of this land adjoining the theatre.
In 1954 title to the property passed briefly to Christopher James Sourris and his wife Effie - (the Sourris family has been connected with other suburban theatres in Brisbane) - but they sold within months to George Londy and his wife Velio. In 1955, Velio Londy transferred her interest in the property to John Sklavos. With the introduction of television to Brisbane in the late 1950s, cinema audiences declined rapidly. Many cinemas installed wide cinemascope screens in an attempt to attract audiences back to the picture theatres, but suburban cinemas struggled to continue screening films and in the 1960s and 1970s many closed, the buildings converted into alternative uses or the sites redeveloped. By the 1980s, only a handful of single-screen interwar suburban cinemas survived in Brisbane.
In an attempt to retain audiences, Londy and Sklavos renovated The State Theatre in 1958, installing a cinemascope screen, a new ceiling, and decorative sound boards along the sides. By 1960, the seating capacity at the State Theatre had increased to 1000.
Films continued to be screened at the State into the early 1960s, but in January 1964 the theatre was acquired by David and Shirley Venables, who converted it into a ‘sound lounge’ known as Teen City. Many of Australia’s most popular rock and roll stars played at Teen City, including Little Pattie, Col Joy, and the BeeGees, but the venture ceased within a couple of years. In 1965 the place was converted into the Red Hill Skate Arena. The floor to the rink was constructed of timber and Masonite initially - later a concrete floor was laid. As with the picture theatres which struggled to survive the impact of television in the 1960s, new recreational activities - especially skateboarding and rollerblading made popular in the late 20th century - are eroding the popularity of indoor skating.
By the end of the 1990s, popularity in rollerblading had declined. The Skate Arena had become an unviable business investment, which eventuated in the venues doors being closed in the late 1990s. The Skate Arena was abandoned and disused for several years before an atrocious fire caused significant damage to the building on Boxing Day 2002. A 23 year old John Cameron Wright was charged with arson, break-and-enter, and stealing. Wright surrendered himself to police the day after the fire.
Since the arson attack the Arena was neglected, exposed to the elements for almost two decades. It developed into a local attraction for graffiti and street artists, photographers, and creatives alike - - murals painted by local artists Fintan Magee, Drapl, and Sofles were a prominent feature. It had also become the focus of a long dispute in regards to its future use, with many surrounding residents opposed to its rejuvination for commercial purposes over concerns of noise, traffic, and parking issues.
In 2019, the former skate rink was purchased by the Sourris brothers Peter and Stephen Sourris, and renovated into a boutique cinema with much of the graffiti being retained.
Source: Brisbane City Council Heritage Register, the Vintage News, Brisbane Times, ABC News.
038/365
Evie, I don't care that you are only 2, or even how cute you are! rules are rules! Now sell all your houses back to the bank, give me the proceeds and mortgage all your properties. No, you can't pay in toys. And Don't go crying to your mother, she lost along time ago. (and yes I always play board games with my 2 year old in a tie)
A plague imbedded on a Nonoalco -Tlatelolco Housing Project apartment building.
Nonoalco -Tlatelolco was a project funded by Banco Nacional and designed by architect Mario Pani.
Both the bank and Pani share a difficult history over the complex demise.
The 19 September 1985 earthquake left both the bank and Pani persona non gratis.
The earthquake exacted a high a toll on the neighbourhood.
Before 19 September 1985, the complex consisted of 102 apartment buildings, seven medical facilities, twenty two schools, and about 500 small businesses serving the 80,000 residents living there.
During the 90 seconds the ground shook two of the three sections of the Nuevo León building fell with about 500 dead, more than 200 missing and 27left orphans.
Other buildings, like the Yucatán, threatened to collapse but did not.
All the buildings suffered damage but along with the collapsed Nuevo León building, buildings such as those called Veracruz, Yucatán and Oaxaca suffered severe damage like severely cracked foundations.
Twelve buildings in the complex were so severely damaged they were demolished in the next six months.
32 of the buildings were in need of major repairs. Twenty seven were demolished completely. Many remained standing but some of these were too dangerous to occupy.
Pani's reputation was in taters and the bank that occupied the complex Torre Insignia was headquarters of the government bank Banobras until the 1985 Mexico City earthquake, when it was abandoned.
BANOBRAS
Banco Nacional de Obras y Servicios Públicos, SNC (National Works and Public Services Bank) or Banobras is a state owned development bank in Mexico. Its core business is sub national (Municipal and State governments) and project finance. It was founded in 1933 as Banco Nacional Hipotecario Urbano y de Obras Públicas, S.A (National Urban Mortgage and Public Works Bank) by president Abelardo L. RodrÃguez.
Until the 1985 Mexico City earthquake, its headquarters were located at the Torre Insignia, a pyramid-shaped building designed by one of Mexico's most noted architects,
Premiere Mortgage Centre
610 Wright Ave, Suite 3, Dartmouth, NS, B3B 0H8
902-429-4000
info@premieremortgage.ca
We are mortgage and insurance brokers, helping clients navigate a complicated business of financial choices and strategies. As independent brokers and agents we are not tied to one lender or insurance provider. Our only agenda is to provide unbiased and customized financial solutions for our clients.
This substantial, two-storeyed brick residence was erected in 1902-03 for John Lamb, co-proprietor of the successful Queen Street drapery establishment of Edwards & Lamb, and a businessman with enlightened attitudes toward his employees. Named ‘Home’, (also known as Lamb House) the house has remained in the sole ownership of the Lamb family since its construction. Designed by eminent architect Alexander B Wilson, the residence embraced the Federation Queen Anne style and is recognised as one of Wilson’s greatest domestic works.
Kangaroo Point, originally part of the land of the Jagera and Turrbul people, was one of the earliest localities used for colonial purposes following the establishment of the Moreton Bay Penal Settlement. The Kangaroo Point Cliffs were quarried for their Brisbane tuff, used in building works for the colony, and the area was farmed from 1837. Following the opening of the colony for free settlement in the 1840s, land along the peninsula was offered for sale. Industry and shipping was established along the river front, with modest working-class dwellings dotting the lower-lying areas. By the 1850s, the higher land at Kangaroo Point was attracting wealthy residents who erected substantial homes overlooking the Brisbane River.
The highest part of Kangaroo Point was River Terrace, running atop the Kangaroo Point Cliffs. By 1875 the terrace was recognised as ‘beauteous… with its unrivalled coup d’oeil of the great city’, and recommended to visitors for sightseeing. Subdivisions along the east side of the terrace were offered for sale from the 1850s, but the western side was reserved for public purposes, providing a dramatic clifftop promenade between the Kangaroo Point State School and St Mary’s church, at the Main Street intersection, and Leopard Street, a continuation of River Terrace.
By the turn of the 20th century Kangaroo Point was a highly appealing residential area, both for its quiet, leafy nature and for its proximity to the city, with ferry and bus services linking the area to the central business district. In 1901, a parcel of eight undeveloped subdivisions on Leopard and Wild streets, at the highest elevation overlooking the Gardens Point, were sold by the mortgagee. The subdivisions surrounded an older residence, ‘Rockfield’, built on the corner of Leopard and Wild streets, circa 1890, for Captain Daniel McGregor. The undeveloped sites had first been offered for sale in October 1852 and granted to John McCabe in 1855. They were transferred to land agent GT Lang in 1882, before they were purchased in August 1901 by John Lamb.
English-born John Lamb and his business partner to-be Thomas Edwards arrived in Australia on the ship Cuzco in 1881. After settling briefly in New South Wales, they established a drapery and clothier business in Brisbane’s premier shopping district, Queen Street, in 1884. Edwards and Lamb was one of a number of locally-established drapery firms opened between the 1860s and 1890s, which were the forerunners of Brisbane’s major department stores. By 1888, Edwards and Lamb had made ‘such rapid strides that… it is one of the representative mercantile house of the kind in the colony.’ The firm openly supported workers’ rights, and was actively engaged in the Early Closing Association movement, which campaigned for shorter working hours for retail workers. The movement’s first chair and secretary were both recruited from Edwards and Lamb, and in the 1890s the firm employed Frank McDonnell as a manager-cum-union organiser until McDonnell’s elevation to Queensland Parliament in 1896. This was quickly followed by the passage of the Factories and Shops Act 1896, and the introduction of early closing in its 1900 replacement. McDonnell credited Edwards and Lamb for his success.
Following the death of Thomas Edwards in 1897, John Lamb purchased Edwards’ share in the business, and continued it on his own. In 1899, Lamb married Sarah Jeane Stephens in Maryborough, and by 1901 the couple had two children, with a third due in 1902. With his family growing, and his business on firm footing, Lamb purchased the Kangaroo Point sites and moved into temporary accommodation in Leopard Street, pending the construction of a new family residence.
Lamb’s timing coincided with a period of steady residential growth in Brisbane. The city had suffered in the 1890s from the combined effects of an economic depression and extensive flooding, and commissions for substantial houses had fallen off. By 1900, the economy was recovering, and businessmen and retailers engaged Brisbane’s prominent architects to design a number of large residences in the inner-city and suburban areas, from Waterton, at Chelmer, circa 1900, for insurance agent Thomas Beevor Steele (architect unknown) (QHR 602340); Drysllwyn, in Auchenflower, c1905, by architect Claude William Chambers, for mining entrepreneur William Davies (QHR 600051); Endrim, at Toowong, 1906, by unknown architect, for tram company director JS Badger (QHR 650071); Turrawan, at Clayfield, 1906, by Hall and Dods, for doctor Arthur Halford (combined surgery/house)(QHR 602452); Cremorne, at Hamilton, circa 1906, by Eaton and Bates, for publican James O'Connor (QHR 600218); Feniton, at New Farm, 1906, by RS Dods, for the Trude family (QHR 650078); to Weemalla, at Corinda, 1909, by RS Dods, for insurance company manager RM Steele (QHR 602820).
Lamb engaged architect Alexander Brown Wilson to design his new Kangaroo Point house. Wilson was by then a well-established Brisbane architect, having commenced work with the Queensland Public Works Department in 1875 at the age of 16. From 1882 he was employed as architect FDG Stanley’s principal draftsman, before beginning his architectural training in Brisbane and Europe. He became the first Queensland-trained associate of the Royal Institute of British Architects, returning to Brisbane to open his own architectural practice in 1884. He also helped found the Queensland Institute of Architects in 1888, and served four terms as its president. Wilson’s practice quickly developed into a substantial firm, particularly renowned for its church and domestic designs. Prominent examples of Wilson’s domestic work survive in Brisbane, including Leckhampton (1890, QHR 600246), Kinauld (1888, QHR 600225) and Como (1890, QHR 601474), but his most recognised domestic work was his design for John Lamb.
In designing Lamb’s house, Wilson put his personal interpretation on the Queen Anne style. Imported from Britain and the United States, Federation ‘Queen Anne’ was the dominant style in Australian domestic architecture for substantial houses at the turn of the 20th century. Popularised by the influential British architect Richard Norman Shaw, who in the 1870s began designing country houses in an eclectic style combining elements from many periods of traditional English rural building, the style was labelled ‘Queen Anne’ after it became popular in America. In Australia, the style was characterised by: red facebrick walls, often with contrasting white painted ornamentation or timber joinery; complex roof forms with towers and multiple gables; Tudor-style half-timber panelling in gable ends; tall brick chimneys; terracotta detailing; and picturesque asymmetry. Roofs were often French Marseilles tile with a detailed ridge or apex. Verandahs featured ornamental posts, brackets, balustrades and valances. Patterns in leadlight windows, doors and fanlights tended to echo the free curves found in nature as the influence of Art Nouveau on the Queen Anne design became increasingly apparent after the 1900s. Although not as popular or extensively used as in Victoria and New South Wales, the Federation Queen Anne style spread to Queensland and was incorporated into designs from the 1890s until the 1940s. In Queensland the style was often applied to traditional timber houses, influencing their roof forms, timber verandah detailing and other ornamentation.
Notable Queen Anne features of the Lamb residence include its red brick composition, terracotta shingle tiles, chimney post, turned timber posts, gables of suggested half-timbering and Classical motifs on the three-storey tower.
Wilson drew plans for Lamb’s house, and a specification was detailed in September 1901. Wilson’s design for the residence set out a ground and first floor, with a protruding observation tower. It was of brick construction, with a tiled roof featuring half-timbered detailing to gable-ends; and a concrete-finished entrance porch aligned vertically with the observation tower. The front door, accessed by the porch, led to the central staircase via a vestibule, which had a lavatory to one side. On the river (northern) side of the residence was an eastern drawing room and connected western dining room that both featured fireplaces, architraves, large windows, skirting boards and ‘wainscoting’ (dado panelling). On the southern side of the residence was a morning (breakfast) room to the east, which opened onto the front verandah; with the kitchen, scullery and connected service wing to the west. Upstairs, there were six bedrooms, each of a different size; a small housemaid’s store and press; and a bathroom behind the central staircase. An additional stair climbed the observation tower, which had a viewing platform in response to the house’s prominent position atop the Kangaroo Point Cliffs. Externally, there were two water tanks, a service wing, including a washhouse with fuel store and earth closet, and a full-sized tennis court (56 x 17m).[14] Early photographs from the Leopard Street entrance driveway show various concrete render mouldings, including the residence’s name, Home, above the pediment to the entrance porch; and iron entrance gates set within a front fence with polychromatic brickwork and concrete capping.
The specifications also clearly distinguished between the primary and other rooms, requiring cedar and ‘fancy wood’ of a wider profile for timber joinery in the public rooms (including drawing, dining and morning rooms, staircase, vestibule and lavatory) and four principal bedrooms; with pine in the two back bedrooms and kitchen. Pressed metal ceilings and / or ceiling roses were to be located in public rooms and principal bedrooms, with leadlight glazing specified for use in a skylight, the front door, vestibule door, cloak-room (potentially describing the lavatory) window, small windows to dining room fireplace, bathroom windows, some verandah doors, and fanlights over dining room and drawing room windows. The drawing room and main bedroom featured bay windows.
Wilson called for tenders for the brick villa in March 1902. The house was constructed over a twelve month period by builder William Anthony at a contract price of £3,250. Work was underway by June 1902, when the ‘fine two-storied residence… commanding a beautiful prospect’ was described in the Brisbane Courier as the main work occupying Wilson’s ‘architectural skill’.
The eight subdivisions provided a generous 3133m2 site for the house and its features. The house was positioned near the back of the site, taking advantage of the extensive views, with a driveway from Leopard Street curving around the tennis court. The Leopard Street frontage was lined by a polychromatic brick wall and ornate driveway gates, also designed by Wilson. Fig trees were planted along the Leopard Street frontage to the property, with additional trees and gardens along the northern boundary, the tennis court fence and the circular driveway, which terminated in front of the house. A service entrance ran from Wild Street to the kitchen and service wing.
The Lamb family house was completed by April 1903, when Mrs Lamb advertised for a general servant from ‘Home, River terrace’. The youngest of the Lambs’ four children was born in 1905; by 1910, Mrs Lamb, with two servants and a children’s nursemaid, advertised for additional help.
The attraction of Kangaroo Point as a quiet but centrally located suburb for the well-to-do continued well into the 1920s. Its reputation as a leafy garden suburb was enhanced in the 1910s when River Terrace was planted with a line of fig trees and garden beds, improving the clifftop promenade. A photograph taken of the River Terrace promenade in 1919 displayed both the vegetation improvements and the view, which terminated in Home and its neighbouring house, Edgecliffe. In 1928 the suburb was recognised as one of the ‘garden suburbs of Brisbane’, with ‘handsome residences, well-kept gardens, wide-streets, and tree-lined avenues.’ From the 1930s, however, houses along the peninsula (including a number of historic homes) were removed for the construction of the Story Bridge (1940) [QHR 600240], and the suburb became increasingly busy.
Few changes appear to have been made to Home after its construction. Architect Wilson undertook minor repairs to the property in 1911, and a brick garage was added at the Wild Street boundary by 1925, with the circular driveway removed and extended to the garage. A pavilion was later added to the tennis court (extant by 1942). The trees, which had become substantial by the 1940s, were cut back in the late 1950s or early 1960s.
John Lamb senior died in 1920, passing the Edwards and Lamb business to his two sons, John and Frank, and the house to his widow, Sarah. Home was mortgaged in 1922 for the sum of £8,000. Three of the Lamb children did not marry, and continued to reside in the large family residence. Both sons worked for the retail firm, while Sarah and her daughters hosted a number of social and fundraising events at the house in the 1920s and 30s, particularly in aid of the nearby St Mary’s Anglican Church. The three unmarried children also purchased the neighbouring Rockfield in 1941. Following Sarah’s death in 1956, ownership of Home passed to her daughters, who remained resident at the house.
The Lamb family business – known both as Edwards and Lambs and simply Lamb’s – operated successfully into the mid-20th century, as one of the renowned Queensland draperies which dominated the state’s retailing market until the 1950s. From the small Queen Street store, it expanded to a large commercial operation with a mail order business for country customers, and was ‘always assured of patronage, especially from country people, who know they are dealing with a reputable establishment’. Until 1921 it relied on word-of-mouth, rather than advertising, for its business. Edwards and Lambs’ premises were extended in 1932 and 1938, doubling the floor size and improving the layout, until it developed a ‘world-wide reputation’ by 1949. A Victory Farm was established at Holland Park during WWII, changing to flowers after the war to decorate the business premises. The Lamb brothers also continued to operate Edwards and Lamb with attention to the welfare of its employees, providing a superannuation scheme and mutual benefits society; additional Christmas holidays; and an extra week’s pay on the firm’s 60th anniversary. As neither a private nor public company, the business was the responsibility of the Lamb brothers, and after both passed away, the firm was sold to Factors Ltd. The sale coincided with the demise of the Queensland-based retailers in the 1960s, when they were superseded by drive-in suburban shopping centres, and sold to large southern retailers.
Home’s prominent position and striking style have made it a Brisbane landmark. As early as 1906 the ‘fine residence’ was considered worthy of note amongst the ‘suburban beauties’ of Kangaroo Point, and the ‘stately home’ featured as one of Brisbane’s newer homes photographed for the Queenslander in 1927. Home has featured in numerous publications, including Salon, the Architectural Journal of New South Wales; Towards the Dawn; 150 years of Brisbane River Housing; architectural sketches; blog posts and tourism websites; and picture postcards of the city. Visible along two stretches of the Brisbane River, as well as from the Botanic Gardens, Kangaroo Point Cliffs and South Bank, it has attracted the attention of tourists, and the house was dramatically floodlit for the Royal Visit in 1954. In 2010, Home was recognised by the Australian Institute of Architects as a nationally significant work, as an important landmark, the best known residential work of Wilson, and arguably Brisbane’s most distinguished Queen Anne styled mansion.
**Queensland Heritage Register**
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"31 Months Straight: Veterans Get The Lowest Mortgage Rates - The Mortgage Reports (blog)" t.co/Zj3updf4bs (via Twitter twitter.com/downpaymentaz/status/822535069889953793)
"Do Rising Mortgage Rates Mean It's Time to Buy a Home? - t.co/OnQHw4A1lR"; t.co/Zue9wukVjl (via Twitter twitter.com/downpaymentaz/status/814411251531083776)
"JPMorgan to Pay $55 Million to Settle Mortgage Discrimination Complaint - New York Times" t.co/HTgOUTQdyH (via Twitter twitter.com/downpaymentaz/status/821904167539249152)
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