This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages.HO35 Hopetoun Private Hospital, Part of 2 - 6 Hopetoun Street in the City of Glen Eira From Victorian Heritage Database citation for Hopetoun Private Hospital https://vhd.heritagecouncil.vic.gov.au/places/43647 as at (21/10/2020) "Melrose" is of regional importance as a surviving and substantially intact example of a large villa residence designed by the noted Melbourne architect, Charles Webb. Its importance is enhanced by the use of unusually fine cast iron balustrading. As a surviving large villa designed by Charles Webb, it compares with his own home "Farleigh" (1865), in Brighton whilst the tower compares with his first home "Chilton" (c.l853)Page 88 of Photograph Album with one landscape photograph of a double storey mansion.Handwritten: Hopetoun Street [top right] / 88 [bottom left]trevor hart, elsternwick, hopetoun street, melrose, hospital, private hospital, victorian, charles webb, cast iron lacework, villa residence, tower, verandah, cars, curved windows, balcony, decorative brackets, cast iron work, mansions, architects

Surrey Hills Mounted Police Station was located at 5 Suffolk Road (dem.) from 1889-1914. It was a police residence with two rooms as the police office and workshop. There were stables on the back fence. The property adjoined Wyclif Church in Norfolk Road. Gilbert McCallum rented from c.1914-1923 when he built a home in Westminster Street. It is his son Archie who can just be seen on the front steps. Archie remembers the 2 storied stables with a gantry for hauling feed sacks up with a block and tackle, then a polished wood slide to send the feed down. The McCallum children and local friends found this to be a marvellous slide. David McPhie, ex-police force, lived here with his family from 1923-c.1950. A black and white photograph showing a mid to late Victorian style weatherboard house with decorative brackets under the eaves. The verandah is of timber with decorative timber fretwork.surrey hills mounted police, suffolk road, surrey hills, wyclif church, (mr) gilbert mccallum, (mr) david mcphie, police, (master) archie mccallum

Originally labelled "Beauville Estate, Established 1936, Still Thriving 65 years on, 10th March 2001", the Beauville Estate Album contains colour photographs of houses in the Estate. They were taken around the time of the Beauville Estate’s 65th Heritage Celebration held on 10/03/2001 and donated to the Caulfield Historical Society shortly afterwards. Photographer unknown. City of Glen Eira’s Heritage Management Plan Vol 2 p79 (this is p84 of the pdf version) – HO12 Beauville Estate and environs, Murrumbeena: The Beauville Historic Area is important at the State level as the first large housing estate undertaken by the AV Jennings Construction Co, later Jennings Group Limited, Victoria’s largest home builder. It is important also as a very early estate development incorporating a range of features other than houses and including made roads, shops and recreation facilities. In this respect it was the forerunner of the comprehensively planned housing estate of the post war era. The estate is distinguished by its aesthetic values, as is the earlier and comparable Hillcrest Estate, which are formed by a combination of restrained diversity in house styles, with the exception of no. 30 in the emerging International style, and by a landscaped garden environment. Colour photograph of a section of a window of a white rendered brick house. The double hung window, with lead lights glass in the top pane, has a decorative bracket above it and unpainted feature variegated brown bricks below. "7' is on the edge of the frame. 7murrumbeena, houses, architectural styles, 1930's, inter war style, a.v. jennings, av jennings, jennings, brick houses, beauville estate, dalny road, sir albert victor jennings, a v jennings construction co, beauville estate heritage area, glen eira city council, architectural features, jennings group limited, land subdivision, beauville historic area, sash windows, lead lights, rendered houses, brick features

Believed to have been built early 1900'sColour photograph of a timber dwelling at 212 Marine Parade. Hipped roof and bull nose veranda of iron. Slim timber veranda posts with decorative brackets. Metal framed windows each side of central doorway with fan light above. Lakes Entrance Victoriafences, houses, heritage study

Originally labelled "Beauville Estate, Established 1936, Still Thriving 65 years on, 10th March 2001", the Beauville Estate Album contains colour photographs of houses in the Estate. They were taken around the time of the Beauville Estate’s 65th Heritage Celebration held on 10/03/2001 and donated to the Caulfield Historical Society shortly afterwards. Photographer unknown. City of Glen Eira’s Heritage Management Plan Vol 2 p79 (this is p84 of the pdf version) – HO12 Beauville Estate and environs, Murrumbeena: The Beauville Historic Area is important at the State level as the first large housing estate undertaken by the AV Jennings Construction Co, later Jennings Group Limited, Victoria’s largest home builder. It is important also as a very early estate development incorporating a range of features other than houses and including made roads, shops and recreation facilities. In this respect it was the forerunner of the comprehensively planned housing estate of the post war era. The estate is distinguished by its aesthetic values, as is the earlier and comparable Hillcrest Estate, which are formed by a combination of restrained diversity in house styles, with the exception of no. 30 in the emerging International style, and by a landscaped garden environment. Colour photograph of a window of a white rendered brick house. The wooden framed window features two double hung windows of lead lights glass in the top panes with a fixed glass pane in the middle section. The window has a decorative bracket above it and unpainted variegated brown feature bricks below. "7' is on the edge of the frame. 7murrumbeena, houses, architectural styles, 1930's, inter war style, a.v. jennings, av jennings, jennings, brick houses, beauville estate, dalny road, sash windows, sir albert victor jennings, a v jennings construction co, beauville estate heritage area, glen eira city council, architectural features, jennings group limited, land subdivision, beauville historic area, rendered houses, brick features, lead lights

Trunk wooden with 4 wood supports on top with decorative metal corner brackets. Lieutenant R H Haynes marked on top outside. Has blue & white striped material inside. 2 metal handles each end & 1 at front. 3 locks at front & E F Melbourne on sideflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

The Kew Recreation Hall was opened in 1880. For eighty years it was a major venue for concerts, performances, dances and civic events. It was demolished in 1960.This work forms part of the collection assembled by the historian Dorothy Rogers (1905-1973), donated to the Kew Historical Society by her son in 2015. The manuscripts, photographs, maps, and documents were sourced by her from both family and local collections or produced as references for her print publications. Many were directly used by Rogers in writing ‘Lovely Old Homes of Kew’ (1961) and 'A History of Kew' (1973), or the numerous articles on local history that she produced for suburban newspapers. Most of the photographs in the collection include detailed annotations in her hand. The Rogers Collection provides a comprehensive insight into the working habits of a historian from the 1960s to the 1970s. Front view, from Wellington Street, of the former Kew Recreation Hall. The 1880 weatherboard building has a long covered entrance leading to the gabled facade. A smaller gabled room protrudes from one side of the facade. At this stage, the decorative features: gables, brackets, finials, etc were still preserved. The triple window would have been a major source of light for the interior. It appears to have an upper balcony in front of the window. Annotation verso: "28. Kew Recreation Hall prior to demolition. Built about 1880."dorothy rogers, kew recreation hall, buildings -- wellington street (kew)

The Kew Recreation Hall was opened in 1880. For eighty years it was a major venue for concerts, performances, dances and civic events. It was demolished in 1960.This work forms part of the collection assembled by the historian Dorothy Rogers (1905-1973), donated to the Kew Historical Society by her son in 2015. The manuscripts, photographs, maps, and documents were sourced by her from both family and local collections or produced as references for her print publications. Many were directly used by Rogers in writing ‘Lovely Old Homes of Kew’ (1961) and 'A History of Kew' (1973), or the numerous articles on local history that she produced for suburban newspapers. Most of the photographs in the collection include detailed annotations in her hand. The Rogers Collection provides a comprehensive insight into the working habits of a historian from the 1960s to the 1970s. Oblique view, from Wellington Street, of the former Kew Recreation Hall. The 1880 weatherboard building has a long covered entrance leading to the gabled facade. A smaller gabled room protrudes from one side of the facade. At this stage, the decorative features: gables, brackets, finials, etc were still preserved. The triple window would have been a major source of light for the interior. It appears to have an upper balcony in front of the window. Annotation verso: "Kew Recreation Hall. Built ca. 1880 (Photo prior to demolition in 1960".dorothy rogers, kew recreation hall, buildings -- wellington street (kew)

This pressed brass artefact is a highly decorative side bracket for distancing a gas lamp flame from the internal wall of a building. It is hollow and made of light gauge metal, with an innovative aesthetic design, but no internal piping to transport gas. It was recovered from the wreck of the LOCH ARD. There are similar artefacts in the Flagstaff Hill collection. The LOCH ARD left Gravesend (London) on 2 March 1878, bound for Melbourne, with a crew of 37, 17 passengers, and a diverse and valuable cargo of manufactured goods, luxury items, and refined metal. Some of the cargo was destined for display at Melbourne’s first International Exhibition in 1880. At 3 am, 1 June 1878, the ship was wrecked against the high limestone cliffs of Mutton Bird Island on Victoria’s south west coast near Port Campbell. Only two people survived the disaster — Tom Pearce, a male crew member, and Eva Carmichael, a female passenger. The cargo proved too difficult to salvage in the vessel’s exposed condition and was largely written off. The manifest of goods in the LOCH ARD’s holds included “Fittings gas (4 cases)”. The gas lighting of streets, public buildings, and the dwellings of wealthier private citizens was already well-advanced in the cities and major towns of the Australian colonies. In 1841 Sydney was the first to be gas-lit with 23 street lamps, 106 hotel lamps, and 200 private residences connected to the Darlinghurst “gasometer” by an underground network of metal pipes. “The dim days of oil and tallow are gone by!” pronounced one newspaper, flushed with civic pride. The 1850s Gold Rush promoted a similar attitude of confidence and affluence in the Colony of Victoria. In 1855 Melbourne was connected to its own system of subterranean gas pipes despite the same high rates of 25 shillings per 1000 cubic feet being charged, (reduced to 15 shillings in 1865 with cheaper sources of coal). By1858 Kyneton had its own gasworks to light the town (fuelled by eucalyptus leaves) and Geelong followed suit in 1860. Had the LOCH ARD reached its intended destination in 1878, it is probable that the 4 cases of brass gas light fittings on board would have found a ready market.The LOCH ARD shipwreck is of State significance — Victorian Heritage Register S417. The gas light bracket is an example of lamp fittings and plumbing from the late 19th century.A pressed brass lighting bracket recovered from the wreck of the LOCH ARD. It would be used for attaching, but simultaneously offsetting, a gas nozzle to a wall. Highly decorative in an unusually ‘modern’ or ‘art-deco’ style, with sweeping curves dissected by angular geometric pattern, and supporting a short, vertical bar with a gas nozzle on top. It is constructed of light gauge metal, with splitting along seams, and some delicate tracery is missing. Outer surface has been polished, removing sediment, but greenish oxidation remains in dents and joins. warrnambool, shipwreck coast, flagstaff hill, shipwrecked coast, flagstaff hill maritime village, flagstaff hill maritime museum, shipwreck artefact, maritime museum, gas lamps, gas lighting, gas works, brass fittings, gas pipes, loch ard, 1878 shipwreck, victorian affluence, colonial gas lighting

The Bell was presented to the Mission by the Aberdeen and Commonwealth Line in October 1957, after the ship made her final voyage to Australia in 1956 and it was broken up in Barrow in April 1957 by Thomas W Ward (UK). In the Annual Report 1957, Padre Oliver mentioned "the bell was found unsuited for the chapel belfry, it is to be mounted on a bracket and placed in the Celia Little lounge."Cast brass bell with wrought iron anchor and hook design wall mount: decoratively plaited cord in maritime knot pattern to resemble chain, sealed with a varnish and attached to cast iron clapper. Wrought iron hook secured by metal bolt. Bell is inscribed in upper case capital letters with MORETON BAY. Anchor attached with four flat headed hexagonal bolts with mighted wooden frame. Bell inscribed with upper case capital letters MORETON BAY. / Also brass presentation wall plaque (see image)bell, anchor, brass, ss moreton bay, ship's bell, plaque, celia little room, bracket, p&o, peninsular and oriental steam navigation company, passengers liners, passenger ships, emigrants, emigration

The piano (Beale-Vader patented model) was donated on Thursday 19 December 1907 by Lady Northcote (Alice, wife of the Governor General of Australia) for the Siddeley Street Institute. The article in The Age dating Friday 20 December 1907: "Shortly after noon yesterday the Rey. A. Gurney Goldsmith, chaplain to the Victorian Missions to Seamen, who has just taken up residence at his quarters in the new Seamen's' Institute on the Yarra-bank, which was recently opened by his Excellence the Governor-General, was surprised at the receipt of a case of large dimensions. On opening it he found a grand piano, accompanied by a card, "With Lady Northcote's compliments." The pianoforte is one of Beale's make, and its presentation is another illustration of the determination of the vice-regal representatives in Australia to encourage local manufactures. It will be remembered that on the occasion of the opening of the institute an appeal was made to the public for a pianoforte and a billiard table. Lady Northcote has responded with the former, and it will be most useful in connection with the concerts which are given once a week to the, sailors of vessels coming up tho river. The question now arises as to who will provide the billiard table for the use of "Jack ashore," as one of the inducements for him, to visit the institute instead of' spending his spare time in the public house. "Governor Northcote and his wife had laid the foundation Stones of the first Central Institute on Siddeley street. The piano was used it for entertainments and concerts including accompaniment of silent films in the 1920s. 21st century visiting seafarers whilst on shore at the Mission, still regularly play pieces such as popular tunes and classics. A walnut case, full iron framed Upright Piano . See image details; decorative trims throughout, and identification plate inside. Screw holes indicate missing candle brackets or sconces on the two front panels.Lid Royal letters patent coat of arms; inside workings stamped plaque: " The/ Beale-Vader / Steel-wirest-plank / patented / throughout / the world"piano, royal grand piano, beale, beale-vader, music, entertainment, concerts, lady northcote, siddeley street, seamen's mission, alice northcote nee stephen, reverend alfred gurney goldsmith

The former Ballarat Circuit Court Building, later the first building of the Ballarat School of Mines, was demolished to make way for a new custom built Art School building. Sir Alexander Peacock opened the Ballarat Technical Art School in July 1915. It cost 10,000 pounds and was constructed by the Public Works Department from plans drawn by the then Art School Principal, Herbert H. Smith. The building contractors were Messrs Gower and Eddards. According to the SMB Annual Report of 1914 'the internal upholstering and fittings have all been carried out in Australian timbers, with Queensland maple largely used throughout.' Before this building was constructed art and craft classes were held in various buildings around Ballarat. The building could be described as federation-art deco in style. It features sandstone insertion with sandstone string coursing. The base of the building is rusticated sandstone. The relief stone panel on the front with the words "Technical Art School" features stone pilaster brackets and corbels. In the centre front can be seen rectangular sandstone pediment with decorative stonework incorporating the date of construction. The windows in the lower floor feature five supporting keystones whereas the upper windows have sandstone lintels. The building also features decorative cast iron downpipes. The entrance on the northern side has attractive leadlight glazing in an art deco style. Above the door a miner's lamp and pick are featured in the design. The building is functional in design with large metal windows in the south wall to ensure good light into the studios. The northern wall has standard double hung windows. The interior of the building features a carved wooden staircase and cast iron ceiling vents. The rear drawing studios can be made into one large studio by opening panelled timber doors. This opening features classical plaster pilasters with a pediment above.Colour photograph of a sandstone detail on a double storey, red brick building - the Ballarat Technical Art School, a division of the Ballarat School of Minesballarat school of mines, ballarat technical art school, architecture, art, gribble building

This railway station building was erected in 1887 and closed in 1990. Now a new chapter begins with a newly restored station building amd platform that re-opened in October 2010 to be used by the Wycheproof Community.The Wycheproof Railway station constructed by Hossack & Brown in 1887 is Heritage listed and is on the Government Buildings Register. This photo is one of only a few available of the early days of the Station.The complex is historically significant at a State level AHC A.4. The Railway station contains significant detailing such as in the turned timber posts and overall composition. This early photo of Wycheproof railway station, shows a construction of timber with corrugated iron clad roof,in c.1904. Features of the design are the timber verandah posts with decorative elements which include chamfers and supporting diagonal timber brackets. The gabled roof has finials on the east and west ends. Seven people pose on the platform,the staff in uniform of the times.Nilregister, , railways, wycheproof, historic buildings, 1900s

The Stereopticon Card viewer enabled the viewer to see photos which gave a "3D" imageHand held viewer for viewing 19th century "3D" cards..Made of aluminium and wood,the face piece is ingraved with decorative scrolls and the brand KEVUKO is in the centre surrounded by a circle and wheat leaves. The card holder,which slides along an aluminium arm, is wood with wire brackets to hold the picture cards. The handle is a wooden "spindle"which can fold flat."KEVUKO"

W Stephens operated a foundry in south Melbourne around 1900 the company made many cast iron architectural and domestic items that were decorative in design and used in the building industry of the time. Stephens Excelsior Foundry specialised in making decorative cast iron balustrades and brackets with intricate lacework used on verandas in the late Victorian period found in Australian homes. The company also made many other items of cast iron including fire grates down to wheel barrow wheels as their 1901 and 1908 catalogues describe. A domestic item made by one of Melbourne's early foundries that specialised in making decorative architectural cast iron items of all types that can be seen in many building still in use today throughout Australia.Fire grate cast iron with four legs and back support. Embossed "W.STEPHENS REGISTERED" on the back.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, fire grate

This wall clock originated from the Bank of Australasia. The label on the base matches other items from the same donor. It was spring powered by winding the key mechanism with the clock's key through the hole in the clock face. The hinged door on the base of the clock's case allows access to the clock's working mechanism. James Murray (son of James Murray 1780-1847) was a maker of clocks and chronometers. He worked at No. 1, Royal Exchange, London and from 1861 at 107 Great Bourke Street, Melbourne. In 1854 William Kerr ordered a clock from James Murray and erected it on the Albert Street frontage of the National Model & Training School in Spring Street Melbourne. It was Melbourne's first turret clock and remained there for 80 years before it was transferred to the Public Library in Melbourne in 1934 (now Museum Victoria). The Bank of Australasia was incorporated by Royal Charter of England in March 1834. It had its Australian beginning on 14th December 1835, opening in Sydney. The Acting Superintendent of the bank at that time was David Charters McArthur. He was Superintendent from 1867-to 1876. The Melbourne branch opened on 28th August 1838 in a two-roomed brick cottage on the north side of Little Collins Street, where two huge mastiff dogs were used at night to guard the bank. The government also provided an armed military sentinel. Due to the bank's rapid growth, a new building for the Melbourne branch was opened in 1840 at 75 Collins Street West. By 1879 the bank had been upgraded to a magnificent two-storey building on the corners of Collins and Queens Streets, with the entry on Collins Street. In 1951 the Bank of Australasia amalgamated with the Union Bank to form the Australia and New Zealand Bank, now known as the ANZ. Then in 1970, the ANZ merged with both the ES&A and the London Bank of Australia to form the ANZ Banking Group Limited. The ANZ Banking Group Ltd kindly donated a variety of historic items from the Bank of Australasia. BANK of AUSTRALASIA, WARRNAMBOOL – In 1854 Warrnambool had two banks, the Union Bank and the Bank of Australasia. Later, completely different bank businesses opened; in 1867 the National Bank of Australasia, then in 1875 the Colonial Bank of Australasia. The original Warrnambool branch of the Bank of Australasia was established in July 1854, and operated from a leased cottage on Merri Street, close to Liebig Street. The bank next bought a stone building previously erected by drapers Cramond & Dickson on the corner of Timor and Gibson Streets. Samuel Hannaford was a teller and then Manager at the Warrnambool branch from 1855 to 1856 and the Warrnambool Council chose that bank for its dealings during 1856-57. In 1859 Roberts & Co. was awarded the contract to build the new Bank of Australasia branch for the sum of £3,000. The land was on a sand hill on the northeast corner of Timor and Kepler Streets and had been bought in 1855 from investor James Cust. The new building opened on May 21, 1860. The bank continued to operate there until 1951 when it merged with the Union Bank to form the ANZ Bank, which continued operating from its Liebig Street building. Warrnambool City Council purchased the former Bank of Australasia building in 1971 and renovated it, then on 3rd December 1973 it was officially opened as the Art Gallery by Cr. Harold Stephenson and Gallery Director John Welsh. The Gallery transferred to the purpose-built building in Liebig Street in 1986 and the old bank building is now the Gallery club. Staff at the Bank of Australasia in Warrnambool included the following men but others were also involved: Samuel Hannaford, Teller then Manager from 1855-1856; W H Palmer, Manager from January 1857 until November 1869 when the Teller Basil Spence was promoted to Manager; H B Chomley, Manager from April 1873 and still there in 1886; A Butt, Manager in 1895-1904; J R McCleary Accountant and Acting Manager for 12 months, until 1900; A Kirk, Manager 1904; J Moore, staff until his transfer to Bendigo in December 1908; J S Bath was Manager until 1915; C C Cox, Manager until April 1923; Richard C Stanley, Manager 1923 to April 1928. The clock has significance through its association with the Bank of Australasia. The early Australian bank was established in 1834 by Royal Charter and opened in Sydney, Australia, in Sydney in 1835. The bank had many Australian offices in November 1877, particularly on the east and south coasts. Victoria had 45 percent of all Offices. The clock is significant for its connection with the quality clockmaker James Murray, originally from Royal Exchange London with a branch that opened in Melbourne in 1861. James Murray is renown for making the first turret clock to be installed in Melbourne. The clock is locally significant for its association with the Warrnambool Bank of Australasia, which was established in 1854. It was Warrnambool Council’s first bank. The bank continued to operate until the organisation's merger in 1951 when it became the ANZ Bank Group today. The Bank was an integral part of the growth of local commerce and the community.Wall clock with a round face behind glass in a wooden case. The painted brass face has Roman numerals, two decorative hands, divisions for minutes and a keyhole. The curved base of the case has a hinged access door with a keyhole and adhesive label. The back of the clock's case has metal mounting brackets. Inscriptions on the rectangular white label. Made by James Murray, Melbourne.Face: "JAMES MURRAY / - GT. BOURKE ST. / MELBOURNE / & / ROYAL EXCHANGE / LONEON" Label: "A M / 40"flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, bank of australasia, boa, union bank, australia & new zealand bank, anz bank, james murray, clock, wall clock, great bourke street melbourne, royal exchange london, william kerr, turret clock, old model school, national model & training school, access door, winding key

This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages. From Glen Eira Heritage Management Plan 1996 by Andrew Ward: In 1905, most of portion 27 was vacant land, however Glenferrie Street had been formed and the land subsequently subdivided. In 1906, Robert Joseph Haddon, architect and painter, designed and built for his private residence, a brick house on the west side. Haddon named the house "Anselm". Also built on the property were a garage and fibro cement studio. "Anselm" is architecturally important at the State level as a substantially intact, highly personalised and boldly expressed house expressive the Arts and Crafts movement and incorporating Art Nouveaux enrichment in a variety of forms, the use of ornamental terra cotta tiles to the comer tower being of special note. Its importance at the State level is strengthened by its place as the home of the noted architect and Melbourne's most influential exponent (Freeland, J.M., Architecture in Australia, p. 213) of the Art Nouveaux movement.https://vhd.heritagecouncil.vic.gov.au/places/4442 Victorian Heritage Register: What is significant? Anselm was designed by noted English born architect Robert Joseph Haddon(1866-1929) as his own house and constructed in 1906. A single storey Arts and Crafts influenced red brick house with attic, Anselm has a pyramidal slate roof with prominent chimney stacks. There is a octagonal corner tower with saucer shaped domed roof surmounted by a weather vane, and the tower has decorative terracotta panels immediately below the eaves line. The front door opens immediately into a large living or common room, screened from view by a timber and bottle glass screen. The large room was designed to function as a drawing and dining room. The house is rich with hand crafted details including door and window furniture, wrought iron gutter brackets, fireplaces (one with built in wood box), and fire tools. The interior decoration includes hand painted frieze of Port Phillip in the study, and a hand painted frieze of turbulent sea with sailing boats in the tiled bathroom. There is a small hand painted tile at the base of the tower which states ?This building was erected AD1906 from designs by Robt J Haddon FRIBA,Lond FRIVA Melb Architect?. He also designed an attic addition which was constructed in 1927. Anselm is substantially intact although the double casement window immediately to the south of the front door was originally circular....Page 60 of Photograph Album with three exterior photographs (one portrait and two landscape) of Anselm.Hand written: 4 Glenferrie Street [top right] / ANSELM 4 Glenferrie St [under top photo] / 60 [bottom right] trevor hart, anselm, art nouveaux, arts and crafts, tower, bay window, glenferrie street, robert joseph haddon, 1900's, terra cotta tiles, double storey, caulfield north, corner tower, gates, cast iron work

This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages. From Glen Eira Heritage Management Plan 1996 by Andrew Ward: In 1905, most of portion 27 was vacant land, however Glenferrie Street had been formed and the land subsequently subdivided. In 1906, Robert Joseph Haddon, architect and painter, designed and built for his private residence, a brick house on the west side. Haddon named the house "Anselm". Also built on the property were a garage and fibro cement studio. "Anselm" is architecturally important at the State level as a substantially intact, highly personalised and boldly expressed house expressive the Arts and Crafts movement and incorporating Art Nouveaux enrichment in a variety of forms, the use of ornamental terra cotta tiles to the comer tower being of special note. Its importance at the State level is strengthened by its place as the home of the noted architect and Melboume's most influential exponent (Freeland, J.M., Architecture in Australia, p. 213) of the Art Nouveaux movement. Victorian Heritage Register https://vhd.heritagecouncil.vic.gov.au/places/4442 What is significant? Anselm was designed by noted English born architect Robert Joseph Haddon(1866-1929) as his own house and constructed in 1906. A single storey Arts and Crafts influenced red brick house with attic, Anselm has a pyramidal slate roof with prominent chimney stacks. There is a octagonal corner tower with saucer shaped domed roof surmounted by a weather vane, and the tower has decorative terracotta panels immediately below the eaves line. The front door opens immediately into a large living or common room, screened from view by a timber and bottle glass screen. The large room was designed to function as a drawing and dining room. The house is rich with hand crafted details including door and window furniture, wrought iron gutter brackets, fireplaces (one with built in wood box), and fire tools. The interior decoration includes hand painted frieze of Port Phillip in the study, and a hand painted frieze of turbulent sea with sailing boats in the tiled bathroom. There is a small hand painted tile at the base of the tower which states ?This building was erected AD1906 from designs by Robt J Haddon FRIBA,Lond FRIVA Melb Architect?. He also designed an attic addition which was constructed in 1927. Anselm is substantially intact although the double casement window immediately to the south of the front door was originally circular....Page 61 of Photograph Album with one exterior photograph (portrait) of Anselm.Hand written: 61 [bottom left] trevor hart, anselm, art nouveaux, arts and crafts, tower, bay window, glenferrie street, robert joseph haddon, 1900's, terra cotta tiles, double storey, caulfield north, corner tower, brick house, attics

The former Ballarat Circuit Court Building, later the first building of the Ballarat School of Mines, was demolished to make way for a new custom built Art School building. Sir Alexander Peacock opened the Ballarat Technical Art School in July 1915. It cost 10,000 pounds and was constructed by the Public Works Department from plans drawn by the then Art School Principal, Herbert H. Smith. The building contractors were Messrs Gower and Eddards. According to the SMB Annual Report of 1914 'the internal upholstering and fittings have all been carried out in Australian timbers, with Queensland maple largely used throughout.' Before this building was constructed art and craft classes were held in various buildings around Ballarat. The building could be described as federation-art deco in style. It features sandstone insertion with sandstone string coursing. The base of the building is rusticated sandstone. The relief stone panel on the front with the words "Technical Art School" features stone pilaster brackets and corbels. In the centre front can be seen rectangular sandstone pediment with decorative stonework incorporating the date of construction. The windows in the lower floor feature five supporting keystones whereas the upper windows have sandstone lintels. The building also features decorative cast iron downpipes. The entrance on the northern side has attractive leadlight glazing in an art deco style. Above the door a miner's lamp and pick are featured in the design. The building is functional in design with large metal windows in the south wall to ensure good light into the studios. The northern wall has standard double hung windows. The interior of the building features a carved wooden staircase and cast iron ceiling vents. The rear drawing studios can be made into one large studio by opening panelled timber doors. This opening features classical plaster pilasters with a pediment above.Colour photographs of a double storey, red brick building built - the Ballarat Technical Art School, a division of the Ballarat School of Minesballarat school of mines, ballarat technical art school, architecture, art, gribble building

Sir Alexander Peacock opened the Ballarat Technical Art School in July 1915. It cost 10,000 pounds and was constructed by the Public Works Department from plans drawn by the then Art School Principal, Herbert H. Smith. The building contractors were Messrs Gower and Eddards. According to the SMB Annual Report of 1914 'the internal upholstering and fittings have all been carried out in Australian timbers, with Queensland maple largely used throughout.' Before this building was constructed art and craft classes were held in various buildings around Ballarat. The building could be described as federation-art deco in style. It features sandstone insertion with sandstone string coursing. The base of the building is rusticated sandstone. The relief stone panel on the front with the words "Technical Art School" features stone pilaster brackets and corbels. In the centre front can be seen rectangular sandstone pediment with decorative stonework incorporating the date of construction. The windows in the lower floor feature five supporting keystones whereas the upper windows have sandstone lintels. The building also features decorative cast iron downpipes. The entrance on the northern side has attractive leadlight glazing in an art deco style. Above the door a miner's lamp and pick are featured in the design. The building is functional in design with large metal windows in the south wall to ensure good light into the studios. The northern wall has standard double hung windows. The interior of the building features a carved wooden staircase and cast iron ceiling vents. The rear drawing studios can be made into one large studio by opening panelled timber doors. This opening features classical plaster pilasters with a pediment above. This building is now the Gribble Building on the Federation University Australia SMB Campus.Artwork by students of the Ballarat Technical Art School from the 1934 Ballarat School of Mines Students' Magazine .1) Stairs to the Ballarat Junior Technical School from Grant Street .2) Caricatures by Nornie Gude .3) work by Colin S. Hunt .4) A girl and a rooster by Gilda Gude .5) Self Portrait .6) Main entrance to the Ballarat Technical Art School by Lorna Bailey .7) Artwork from the magazineballarat technical art school, gribble building, gribble, stained glass, white flat, hopwood, bailey, gude, ballarat junior technical school, visual arts

Swivel mirror mounted medium brown, wooden mantle stand with 2 drawers in base, Drawers are lined with green and yellow floral paper. Drawer fronts are rounded wood; one drawer has a front piece missing. Wooden uprights are a decorative, curved shape. Base has 4 round, turned wooded feet (5th foot now detached, was located in centre front between drawers). Mirror has lost its reflective coating around edges. It rests, at about 70 degree angle, on metal bracket. Marking on base in black crayon “6 2”, and pencil letters on 1 drawer “& &”, and “S S” (or “”S 8”). flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, mirror, dresser mirror, furniture, 19th century, bedroom furniture

Gas lamps worked by heating something called a 'mantle' with a gas flame. The mantle then glowed brightly, lighting up the room. Lamps had either two chains, for a ceiling-mounted lamp or a tap for a wall-mounted burner to turn off the gas. These chains or taps could also adjust the flow of the gas and hence the brightness of the mantle. Before Carl Auer von Welsbach invented the gas mantle in the 1890s, all gas lights in homes and street lights had simple gas jets that pointed upwards. In the home, these lights were covered with glass globes and had an overall ornate look making the lamp ascetically pleasing and protecting the flame from being blown out. However, this arrangement was extremely inefficient: To get as much light as possible, the gas had to be turned fully up, resulting in large sheets of flame rising towards a ceiling. Also, because the lamp had to be point upwards, the illumination was directed upwards, i.e. at the ceiling rather than where it was needed. So the usable light for a given amount of gas was minimal but the invention of the gas mantle eventually changed this. It enabled gas lights to have a small flame and to direct their light downwards. The item is significant as it is part of a very ornate gas lamp wall bracket from the late 19th to early 20th century. Its provenance is currently unknown and at this time cannot be associated with a historical event, person or place and the item is assessed as a collective asset.Gas lamp wall bracket; part of a gas lamp. A single burner fancy wall mounted bracket, brass, ornate and decorative, featuring a Lamassu - figure with the body of a lion , wings of an eagle and human head. It was recovered from the wreck of the Loch ArdNoneflagstaff hill, warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, gas lamp, brass lamp, gas burner bracket, domestic artifact, gas lighting, gas lamp bracket

In architecture a corbel serves a decorative as well as structural function as a solid piece of stone, wood or metal that is built into a wall and juts out like a bracket to carry a weight. The smoothly shaped corbel was formerly built into the external wall of the lighthouse facing the sea. It consists of two cupped, rounded forms, one bigger than the other, which are attached to a damaged flat base. Made of cast concrete, it is the same fabric as the lighthouse and shows evidence of white paint on its surface. An early architectural drawing of the tower shows the corbel as a projecting, decorative moulding underpinning the balcony floor associated with the auxiliary light. It indicates the original corbel was a much larger architectural feature which started as a solid rectangular block and terminated with a smaller block and then two tapering, rounded forms. Prepared in mid-1888, the architectural drawings for the lighthouse by Victorian Public Works Department architect, Frederick Hynes, were amended in 1888-89 to provide for an auxiliary light, which comprised an arched opening and door in the tower wall below the lantern room and small balcony. In the late nineteenth century all of Victoria’s lightstations installed a red auxiliary light to serve as a danger warning to mariners sailing too close to shoare. Existing lightstations, like Cape Otway, built a pavilion below their lighthouse facing out to sea, but newly constructed towers like Point Hicks and Split Point incorporated them into their designs. The efficacy of auxiliary lights became a controversial issue and all were discontinued on 1 January 1913. The Point Hicks balcony was removed from the face of the tower in 1971 after it was found to be badly rusted. This resulted in the complete removal of the corbel, from which the rounded moulding and part of the base survives. The auxiliary light and door were subsequently removed in 1975 and glass blocks now fill the opening. Cape Schanck Lightstation retains four cast iron brackets from its auxiliary light balcony which are currently stored in the lighthouse on the ground floor. No other architectural fabric associated with the auxiliary light has been identified at Point Hicks Lightstation. The fragment of corbel has first level contributory significance for its historic and architectural values as a relic of the auxiliary light and as an original moulding from the fabric of Victoria’s first concrete lighthouse.A masonary corbel.

Set of two decorative candle protectors for piano brackets. Pink with gold bird and flower design.candles, candle equipment

In the 19th century, the Industrial Revolution meant that shipbuilders could build ships using iron. These iron ships could be much larger, with more space for cargo and they didn't need as much work to keep them in good condition. Isambard Kingdom Brunel's "Great Britain" built in 1843, was the first ship to be built entirely of wrought iron. In the 1880's steel began to be used instead of iron. Ships also began to be fitted with steam engines although a great deal of coal was needed to travel even short distances. For this reason, ships continued to be fitted out with sails even though many came with engines. The iron-hulled, four-masted barque, the Falls of Halladale, was a bulk carrier of general cargo. She left New York in August 1908 on her way to Melbourne and Sydney. In her hold, along with 56,763 tiles of unusual beautiful green American slates (roofing tiles), 5,673 coils of barbed wire, 600 stoves, 500 sewing machines, 6500 gallons of oil, 14400 gallons of benzene, and many other manufactured items, were 117 cases of crockery and glassware. Three months later and close to her destination, a navigational error caused the Falls of Halladale to be wrecked on a reef off the Peterborough headland at 3 am on the morning of the 15th of November, 1908. The captain and 29 crew members all survived, but her valuable cargo was largely lost, despite two salvage attempts in 1908-09 and 1910. ABOUT THE ‘FALLS OF HALLADALE’ (1886 - 1908) Built: in1886 by Russell & Co., Greenock shipyards, River Clyde, Scotland, UK. The company was founded in 1870 (or 1873) as a partnership between Joseph Russell (1834-1917), Anderson Rodger and William Todd Lithgow. During the period 1882-92 Russell & Co., standardised designs, which sped up their building process so much that they were able to build 271 ships over that time. In 1886 they introduced a 3000 ton class of sailing vessel with auxiliary engines and brace halyard winches. In 1890 they broke the world output record. Owner: Falls Line, Wright, Breakenridge & Co, 111 Union Street, Glasgow, Scotland. Configuration: Four masted sailing ship; iron-hulled barque; iron masts, wire rigging, fore & aft lifting bridges. Size: Length 83.87m x Breadth 12.6m x Depth 7.23m, Gross tonnage 2085 ton Wrecked: the night of 14th November 1908, Curdies Inlet, Peterborough south west Victoria Crew: 29 The Falls of Halladale was a four-masted sailing ship built-in 1886 in Glasgow, Scotland, for the long-distance cargo trade and was mostly used for Pacific grain trade. She was owned by Wright, Breakenridge & Co of Glasgow and was one of several Falls Line ships, all of which were named after waterfalls in Scotland. The lines flag was of red, blue and white vertical stripes. The Falls of Halladale had a sturdy construction built to carry maximum cargo and able to maintain full sail in heavy gales, one of the last of the ‘windjammers’ that sailed the Trade Route. She and her sister ship, the Falls of Garry, were the first ships in the world to include fore and aft lifting bridges. Previous to this, heavily loaded vessels could have heavy seas break along the full length of the deck, causing serious injury or even death to those on deck. The new, raised catwalk-type decking allowed the crew to move above the deck stormy conditions. This idea is still used today on the most modern tankers and cargo vessels and has proved to be an important step forward in the safety of men at sea. On 4th August 1908, with new sails, 29 crew, and 2800 tons of cargo, the Falls of Halladale left New York, bound for Melbourne and Sydney via the Cape of Good Hope. The cargo on board was valued at £35,000 and included 56,763 tiles of American slate roofing tiles (roof slates), 5,673 coils of barbed wire, 600 stoves, 500 sewing machines, 6,500 gallons of oil, 14,400 gallons of benzene, plumbing iron, 117 cases of crockery and glassware and many other manufactured items. The Falls of Halladale had been at sail for 102 days when, at 3 am on the night of 14th November 1908, under full sail in calm seas with a six knots breeze behind and misleading fog along the coast, the great vessel rose upon an ocean swell and settled on top of a submerged reef near Peterborough on the south-west Victoria’s coast. The ship was jammed on the rocks and began filling with water. The crew launched the two lifeboats and all 29 crew landed safely on the beach over 4 miles away at the Bay of Islands. The postmistress at Peterborough, who kept a watch for vessels in distress, saw the stranding and sent out an alert to the local people. A rescue party went to the aid of the sailors and the Port Campbell rocket crew was dispatched, but the crew had all managed to reach shore safely by the time help arrived. The ship stayed in full sail on the rocky shelf for nearly two months, attracting hundreds of sightseers who watched her slowly disintegrate until the pounding seas and dynamiting by salvagers finally broke her back, and her remains disappeared back into deeper water. The valuable cargo was largely lost, despite two salvage attempts in 1908-09 and 1910. Further salvage operations were made from 1974-1986, during which time 22,000 slate tiles were recovered with the help of 14 oil drums to float them, plus personal artefacts, ship fittings, reams of paper and other items. The Court of Marine Inquiry in Melbourne ruled that the foundering of the ship was entirely due to Captain David Wood Thomson’s navigational error, not too technical failure of the Clyde-built ship. The shipwreck is a popular site for divers, about 300m offshore and in 3 – 15m of water. Some of the original cargo can be seen at the site, including pieces of roof slate and coils of barbed wire. This particular artefact was one of many found by John Laidlaw (a local Warrnambool diver) when diving on the Falls of Halladale in the 1960's. In August 1973, John Laidlaw and Stan McPhee went on to discover the underwater location of the Schomberg - a passenger ship that ran aground on December 26th 1855 near Peterborough and which now lies in 825 metres of water. When John Laidlaw died, his family donated a number of artefacts to Flagstaff Hill. The brass finial may have been part of a larger decorative item such as a lamp or clock bracket.This item is significant as it was taken from the Falls of Halladale shipwreck which is listed on the Victorian Heritage Register (No. S255). She was one of the last ships to sail the Trade Routes. She is one of the first vessels to have fore and aft lifting bridges. She is an example of the remains of an International Cargo Ship and also represents aspects of Victoria’s shipping industry. The wreck is protected as a Historic Shipwreck under the Commonwealth Historic Shipwrecks Act (1976)A brass, bell shaped object with a body approximately 3 cm high. It has an outer lip, straight sides that taper in and a flat "cap". The inside of the object is plain with evidence of vertigris. It has a decorative topping almost 2 cm high which has a double concave hollow neck.flagstaff hill, flagstaff hill divers, flagstaff hill maritime museum and village, great ocean road, warrnambool, falls of halladale, falls of halladale wreck, shipwreck artefact, artefact, brass artefact, brass finial, brass fitting, shipwreck coast, diver, john laidlaw, finial, brass decoration, handmade

Original home of George Carpenter, son of John Carpenter, first contractor for the artificial entrance. On this site home and office of Carpenter's Caravan Park.Colour photograph of Skippers Restaurant, Esplanade. It shows a weatherboard building, centre roof connects eastern hipped roof and western gable which is half timbered in Tudor style. Decorative corbels support eaves. Wrought iron lacework and brackets under veranda roof. Lakes Entrance Victoriaarchitecture, township, restaurant