Showing 111 items
matching glass chimney
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Orbost & District Historical Society
buggy lamps, 1880's -1910
In the beginning of the19th century, the main mode of transportation was the horse and carriage. Even after the advent of the railway, remote areas still relied on the horse for local transport.Until Australian coachbuilders began making buggies from the 1860s, most were made in America Buggies with four wheels were light but comfortable. Many had hoods to keep the sun and rain off passengers. They were generally owned by doctors, ‘squatters’ and business people. Some had small turn-out seats at the back for children. Lamps are placed at different places on the carriage sides: 1 lamp on each side placed close to box seatThese lanterns are examples of lighting devices used in the time of horse and carriage transport.Two kerosene lanterns - buggy lamps.They are rectangular in shape and have a chimney on top. Both have carrying handles.There are 3 glass windows having two clear white lights and one small red round light on the back. The ceramic burner is made by Barton's.On ceramic wick holder - B in the middle of BARTONS B Underneath is TRADE MARK lighting kerosene-lights buggy-lamps transport lanterns -
Flagstaff Hill Maritime Museum and Village
Photograph - Set of Photographs, John Chance, late 1960s to early 1970s
This set of glossy black and white photographs is a set of images of Glenample Homestead circa late 1960s to early 1970s. They were taken by John Chance and are part of the John Chance Collection. The Colonial Georgian style Glenample Homestead was built from 1866 to 1869 from locally quarried sandstone. In is built on the top of a hill amongst trees. There are paddocks below and around the building. The building is basically a rectangular shape with a recessed room on the right side of the front. The pitched roof is covered in corrugated iron. The veranda, added in 1886, also has a corrugated iron room and is supported by square posts with decorative tops. It shelters three sides of the building. The edge of the veranda is decorated with scalloped shapes along the front and left side of the building. On the right is a brick wall incorporating a chimney. Another chimney on the left is contained within the building. The four-panelled outside doors are visible in some of the photos, as are the 12-paned glass windows, which are framed in contrasting stone. The veranda is trimmed with scalloped metal work on two sides and had some enclosed corners. There appears to be a cubical water tank on the roof line. Out-buildings include a toilet built against the house's brick wall. Another building appears to have two rooms with outside doors, perhaps for workers. There is the remains of a two-wheeled cart under a shelter. GLENAMPLE & the LOCH ARD Glenample Homestead became famous after the disastrous wreck of the sailing ship Loch Ard on June 1, 1878. The owners, Hugh Hamilton Gibson and Peter McArthur, were involved in the rescue and recovery of the only two survivors, as well as overseeing the salvage of items from the shipwreck and the burial of those who lost their lives. Glenample Homestead is on the Great Ocean Road at Princetown. Originally the land was part of Kennan’s Station lease, one of the district’s early settlements, circa 1847. James Murray bought Kerman’s land in 1856-57, combined it with nearby land, and named it Glenample Homestead. The ruins of huts Murray built on the property were still there until recently. Glenample was sold in 1866 to the partnership of Gibson and McArthur, who built a Georgian style house there using local sandstone, completing it by 1869. On 1st June 1878 the Loch Ard was wrecked at what is now called Loch Ard Gorge. Apprentice crewman Tom Pearce and eighteen year old passenger Eva Carmichael were the only survivors. Pearce had brought Eva ashore and sheltered her in a cave, reviving her with whiskey found amongst items washed up from the wreck. He climbed the cliffs and came across two riders from Glenample. No other survivors were found and sadly, Eva’s family members were amongst those who drowned. Hugh and Lavinia Gibson cared for Pearce and Eva at Glenample and extended their hospitality to Eva, who stayed on for about six weeks as she recovered from the ordeal physically and emotionally. Mrs Gibson introduced Eva to Jane Shields and the young ladies became lifelong friends. Years after Eva had returned to England, Jane’s daughter visited her. Eva handed her a blue china tea set to pass onto her mother as a gift. A descendant of Jane’s donated part of the tea set to Flagstaff Hill Maritime Village while another descendant donated her inherited share of the tea set to the Warrnambool and District Historical Society. In 1886 Glenample Homestead was updated to include a veranda on three sides. In 1887 Gibson sold his share to partner Peter McArthur. McArthur’s son Ernest inherited the property in 1897. Ernest established the Glenample Cheese Factory in around 1911. It was closed due to the World War and reopened in 1929 by McArthur’s sons, Robert and Colin, when they took control. In 1945 they sold Glenample and several owners followed but it was left unoccupied and became dilapidated. It was during this time that John Chance visited the property and photographed the buildings. In the 1980s the National Parks Service acquired the Glenample Homestead and began a restoration program. Work began in 1989 by Cathedral Stone, which was established in 1989 by James Charlwood, a specialist stonemason and son of maritime author Don Charlwood. This set of photographs are significant as a record of Glenample Homestead as it was from around the late 1860s to the late 1960s. The photographs are also significant as they were taken by John Chance, a diver from the wreck of the Loch Ard in the 1960s-70s. Items that come from several wrecks along Victoria's coast have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value. The photographs are significant as a link between Glenample, the vessel Loch Ard, and the only survivors of the Loch Ard. Glenample Homestead is of historical, social and architectural significance to the State of Victoria and is listed on the Victorian Heritage Register (VHR H0392). It is a historical example of early settlement and development of a run in the coastal land of South West Victoria, and it is constructed from locally quarried sandstone but doesn’t take away from its Georgian design. Glenample Homestead is of State significance through its unique connection with the wreck of the ship Loch Ard and the connection to its owners, Hugh and Lavinia Gibson and Peter McArthur, played a historically and socially significant role in the rescue and care of the survivors, the salvage of goods and the burial of those who lost their lives. The shipwreck of the Loch Ard itself is of significance for Victoria and is registered on the Victorian Heritage Register (S417). The set of ten rectangular black and white photographs of the Glenample Homestead, taken in the late 1960s or early 1970s, give san overview of the Glenample property. The views include the front, back and one side of the building, three outbuildings, and the situation of the homestead on the property. The details on the photographs show the materials used and the Colonial Georgian style. The photographs are also a record of the deterioration of the property over the years it was unoccupied.flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, kennans station, glenample homestead, georgian homestead, loch ard, princetown, victoria, james murray, hugh hamilton gibson, lavinia gibson, jane shields, eva carmichael, tom pearce, blue china tea set, peter mcarthur, ernest mcarthur, robert mcarthur, colin mcarthur, glenample cheese factory, cathedral stone, don charlwood, james charlwood, antique door key, glenample photographs, john chance, victorian heritage database 392 -
Victorian Interpretive Projects Inc.
Photograph - Black and White, Ballarat, c1854
The town you see had over 50,000 people. Bridge Street on the left is well established. The crude pans and cradles of the early “diggers’ were already giving way to steam power and the deep shafts of the “miners”. Money and machinery were needed to get to the deeper leads, and the smoke stacks of the great company mines can be seen across the photo.Four black and white photographs placed together to make a panorama of Ballarat looking towards Mt Warrenheip. On the left the chimney and gasometer indicate the corner of Dana Street and Albert Street. This is now the Ballarat Law Courts. The photograph is behind glass in a black frame. These four photographs were taken from the slope of the Ballarat School of Mines where the Uniting Church now stands. When joined they give a panoramic view of one of the world’s richest alluvial goldfields. The Waterloo Mine was one of the first deep shafts and was sunk at the foot of the Dana Street hill. Its tailings are seen in the second photo from left. The following was typed and placed with the framed image. Ballarat Circa 1858 This is the most significant of the photographs of early Ballarat. The photographer stood on the slope near S.M.B. where the Wesley Church now stands and took four pictures. When joined them have this panoramic view of one of the world's richest alluvial goldfields. Seven years earlier this landscape was empty. The town you see had over 50,000 people. Bridge Street on the left is well established the Ballarat gas Company stands on the same place as today. The crude pans and cradles of the early "diggers" were already giving way to steam power and the deep shafts of the :"miners". Money and machinery were needed to get to the deeper leads, and the smoke stacks of the great company mines can be seen across the photo. The Waterloo mines was one of the first deep shafts and was sunk at the foot of the Dana Street hill. Its tailings are seen in the second photo from the left. ballarat, ballarat townscape, panorama, waterloo mine -
Stanley Athenaeum & Public Room
Domestic object - Lamp, Spider lamp
Lamp hanger and chain with font holder. The lamp would have had a glass font. Screw part of a burner - the lamp chimney would have sat on the edge. Funnel to side fill of lamp. In pieces. Used as lighting in the library/Athenaeum.German maker - Dietz 1858 patent -
Whittlesea Historical Society Inc.
Photograph - glass plate negative, Bear's Castle, c.1910
Bear's Castle was constructed in Yan Yean circa 1846 probably by two men, Hannaford and Edwards, who had recently arrived separately from Devon, England. It was built for John Bear an early pastoralist who had migrated from England with his family in 1841. Bear's Lookout (or Bear's Folly as it is also known), is a small, two storey structure roughly square in plan and occupying an area of less than 12 square metres. It is built of mud/clay - a common primitive building material apparently used extensively in the Whittlesea area and utilises a technique known as cob, popular in the builders' home town of Devon. Cob is a walling construction method using clay, straw, gravel and sand. The building was constructed to resemble a castle the result, it would seem, of a cursory remark by John Bear with a pyramid shaped roof and turrets at each corner - one with a stair and another in brick and stone with a chimney. Despite its name, it would appear that the building was never used as a retreat from danger although it might well have been used as a lookout for the monitoring of livestock or forest fires.The negative depicts Bear's Castle which is historically significant because of its early, pre- gold rush construction date and its association with notable pioneering pastoralists, the Bear family. The Bears were responsible for establishing one of Victoria's earliest wineries (at Yan Yean) and are associated with Chateau Tahbilk, reputedly Victoria's oldest extant winery.Rectangular glass plate negative showing eight men and a dog standing in front of Bear's Castle at Yan Yeanglass plate negative, bears castle, yan yean -
Mont De Lancey
Functional object - Lamp
... . The chimney is clear glass with a decorated edge on the top.... and a knob to adjust the flame. The chimney is clear glass ...It was used as a bedroom lamp by Valmae (Colling) Gaudion in various railway houses lived in around Victoria in the days before electricity.A bedroom oil lamp with a light amber coloured glass bowl with a ring holder and blue oil inside. It has a green glass handle, a metal burner, cotton wick and a knob to adjust the flame. The chimney is clear glass with a decorated edge on the top.lamps, oil lamps -
Mont De Lancey
Lamp - Kerosene, c.1920
Lamp has clear bowl shaped chimney with frilled rim. A reservoir with clear patterned glass and an amber base.kerosene lamps, lamps -
Glenelg Shire Council Cultural Collection
Painting, Ruth Denny, Old Cottages Richmond St. Portland, 1967
CEMA Art collectionThe painting depicts a street scene with three buildings and a fenced area. The centre focus of the work is two small buildings. The building on the left is yellow with red roof and green door. Standing in front of the house is a female figure with red shirt and white skirt. Tthe building to the right is pale yellow with green roof, red chimney and green door. The work has plain wooden frame with a mount and glass.Front: Old Cottages Richmond St.Portland Ruth Denny 1967(black, handwritten) Back: Sticker:DEAN'S MU 8291 FOR FRAMING 346 LT.COLLINS ST., MELB. NO. 20438 Yellow sticker: 3034 -
Glenelg Shire Council Cultural Collection
Functional object - Lamp, Navigation Lamp, n.d
Port of Portland Authority CollectionNavigation light, acetylene type. Steel and bronze body painted grey, glass lens cover, triangular sections; bronze and brass chimney painted grey silver. Thumb screw toggled latch.port of portland, navigation, maritime technology -
Glenelg Shire Council Cultural Collection
Functional object - Centre for a Lamp Chimney, n.d
... Cliff Street Portland great-ocean-road Centre for a Lamp Chimney ...Part of Graham Collection, donated by the Family of Misses Mary and Edith Maude Graham, of 4 Blair Street, Portland.Glass centre for lamp. Long cylindrical tube, larger at base than at top.Front: 6 / Sun Brand / Best Crystal / Fireproof / Made in Czecho-slovakia (etched logo, base). -
Glenelg Shire Council Cultural Collection
Photograph - Photograph - Rephotographed photograph, 1970s
Photographic print of a rephotographed photograph. Image shows front and one side stone house at 61 Bancroft Street, South Portland. Verandah across front of house (?) slate roof, 3 stone chimneys, water barrel against side of house, verandah partly glassed in. Man and woman on verandah, another man in front garden. Residence of William Corney.Back: 'Mr Miller Bancroft St' - blue biro -
Glenelg Shire Council Cultural Collection
Equipment - Carriage Candle Lamp, c. 1890
Displayed at History HouseSheet-metal lantern with cubed lantern mounted on cylindrical handle. Two sides are full-pane thick bevelled glass, one tin with concave reflector panel on inside and one side with hinged door with red glass circle mounted in the middle. Painted black with black chimney and hood. Brass edging to glass panes.Front: Goodwin & Co/Birmingham (metal embossed plaque, candle mount).port of portland archives -
Glenelg Shire Council Cultural Collection
Photograph - Contact Print, 1970s
Black and white contact print from glass plate negative. Image of stone house with shingle roof and stone chimneys. Verandah with iron support poles and lace work. Vines growing up poles. People standing on verandah and in garden. Dress late 19th, early 20th century.Back: 'Mellons' - blue birophotography, portland -
Glenelg Shire Council Cultural Collection
Photograph - Print - Sheet of 2 contact prints - Dutton Way Beach, 1960-1970
Sheet of 2 contact prints from glass plate negatives. c1960's-70's Measuring 12 x 16 each print Top: Dutton Way beach looking towards Portland Road down to beach can be seen on right. Bottom: Group of people sitting/standing in garden at front of a house with tin roof and 2 chimneys. Veranda across front of house covered in ivy obscuring house front. -
Glenelg Shire Council Cultural Collection
Photograph - Sheet of 2 black and white contact prints from glass plate negatives, 1960-1970
Sheet of 2 black and white contact prints from glass plate negatives. Measurements are 11.8 x 16.1 cm for both prints. Top: Image of stone house with shingle roof and stone chimneys. Veranda with iron support poles and lacework. Vines growing up poles. (same house as 5622) Front view. Bottom: Man on horse. Cypress pines, wooden fence behind. -
Glenelg Shire Council Cultural Collection
Print - Contact Print - Stereoscopic. Portland, 1960-1979
Sheet of 3 pairs of stereoscopic contact prints from glass plate negatives. Top: Two ladies about to exit gates of Botanic Gardens. Middle: Small cottage, front verandah, tin roof, 2 stone chimneys. Bottom: View of large city. Two story building with clock tower. -
Glenelg Shire Council Cultural Collection
Photograph - Photograph - Claremont House Portland, c. 1970
Photographic print of a rephotographed photograph. Image shows 'Claremont', double storied bluestone building, south side of Julia Street between Hurd and Percy Streets. Iron roof, two stone chimneys. First floor balcony with verandah and iron lace work fence. Both ends of balcony filled in with glass panes.Back: 'Claremont' - blue biro -
Glenelg Shire Council Cultural Collection
Negative - Glass Plate Negative - Cottage, c. 1890
Stereoscopic glass plate negative. Image shows a cottage with front verandah, tin roof, chimney on left of house. -
Glenelg Shire Council Cultural Collection
Functional object - Lamp - Navigation light, acetylene type, c. 1980
Used as channel lights, Corio Bay channel. Bob Hodgson purchased light from Geelong Harbour Trust c. 1980, purchasing four for $20.00.Navigation light, acetylene type. Automatic swtich using light intensity detector. Bronze body, painted red, glass lens cover, dioptric lens with red chimney. Brass hinged chimney. Toggle latch. Light-senstiive switch mounted on side.Front: LIDINGO A.G.A. SWEDEN Back: (no inscriptions) -
Glenelg Shire Council Cultural Collection
Painting, Gardens Cottage Portland 1857, 1967
CEMA Art collectionThe painting depicts a blue stone building with green door. On either side of the door is a window and there is a chimney at either end of the roof. The side of the house closest to the viewer is overgrown with vegetation which extends up to and covers the chimney. To the right of the building is a green fence with a leaf-less tree behind. To the left of the building is a smaller green fence with several green trees behind. The work has a plain wooden frame with a mount and glass.Front: Gardens Cottage Portland 1857 Ruth Denny 1967 (black, handwritten) Back: Sticker: DEANS MU 8291 FOR FRAMING 346 LT. COLLINS ST., MELB. NO. 20438 Yellow sticker: 3033 -
Trafalgar Holden Museum
Accessory - Kerosene Coach Lamp, ca1900
Manufactured by Holden and Frost for the illumination on buggies during the period ca1900Manufactured and sold by Holden and FrostBlack painted steel carriage lamp. Opening right hand side, chimney and carry handle on top. Globular glass ball on side with inner red glass.buggies, lamp, civilian -
Glen Eira Historical Society
Album - Album page, Labassa, 4 Manor Grove, Circa 1972
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. HISTORY:-- From Victorian Heritage Database citation for Labassa https://vhd.heritagecouncil.vic.gov.au/places/278 as at (26/10/2020) Labassa, Caulfield is one of Melbourne's most lavishly decorated nineteenth century mansions. It resulted from the extensive remodelling in 1890, of an earlier house, known as Sylliott Hill, which was begun in 1862-3 for lawyer, Richard A. Billing. The land at the corner of Balaclava and Orrong Roads was first acquired in 1854 by William Lyall, transferred to his partner, John Mickle, in 1859, who also acquired the adjoining allotment in Balaclava Road, and the three allotments were conveyed to Billing. His first eight-roomed house was extended significantly in 1873 into a twenty-roomed house by architects Crouch and Wilson, who were possibly also responsible for the first house. This reflected Billing's success as a barrister, and he resided at this property until his death in 1882. In 1883 prominent Melbourne businessman, Alexander William Robertson, leased the Sylliott Hill property from Billing's widow, and in 1885 he purchased the adjoining allotment in Balaclava Road. He purchased the Billing's property in 1887 and renamed the 6.31 hectare property, Ontario. In 1889-90, Robertson commissioned the German born architect, John A. B. Koch, to extensively remodel the house into a thirty-five roomed mansion. The existing house was extended and altered, largely resulting in the nineteenth century mansion as it now appears. After Robertson's death in 1896, the house was tenanted until it was eventually sold to the mining millionaire, John Boyd Watson, in 1904. He renamed the property Labassa and carried out repair and re-decoration work to the house. In the early twentieth century, many large estates were subdivided into smaller allotments as the demand for land grew and it became difficult to maintain such large estates. After Watson's death in 1911, portions of the Labassa estate were offered for sale, with Mrs Watson retaining a 1.73 hectare portion containing the house. In 1913 forty-six allotments were auctioned at Labassa Estate, with the formation of Labassa Grove and Ontario Street to the east of the property. Labassa was first recorded as containing flats in 1923 and in the late 1920s, the owner, Robert Hannon, built a red brick block of flats adjacent to the house. Subdivision continued, until the National Trust of Australia (Victoria) purchased the house in 1980 and subsequently purchased adjoining sites, one to the south-east in 1984 (house demolished in 1988) and to the west in 1988. Labassa as it now stands is substantially as it appeared when Koch completed the work in 1890. The original two storey house was transformed into a French Renaissance style mansion, with the addition of a two level L-shaped arcaded verandah and two prominent terminating bays to the south and the east. The building is of unpainted cement render with dressed bluestone plinths, balustraded parapet and steep, slate covered, flat topped mansard roofs behind. A truncated conical roof is a feature of the south bay and a helmeted head is incorporated in the parapet over the east bay. The main south and east facades incorporate many cast cement details, including sculptures, elaborate cornices, swagged Corinthian columns and caryatid consoles flanking the entrance porch, as well as pink marble panels and imitation marble, or scagliola, on curved surfaces. At the rear of the building is a two storey wing and a single storey cottage, the former being connected to the main house by a tower. This section of the house was constructed in 1873. The estate at its peak included stables (1873), conservatory (probably 1890) and a tennis pavilion (probably 1890). All of these outbuildings survive, with the stables and conservatory being converted for residential use after 1922. Internally a range of decorative treatments remain from the late nineteenth century and the early twentieth century, both from the Robertson and Watson periods of occupancy. These include wallpapers, ceiling decoration, chimney pieces, mouldings, joinery and decorative glass. From Victorian Heritage Database citation for H0135 Labassa 2/2A Manor Grove Caulfield North https://vhd.heritagecouncil.vic.gov.au/places/278 as at (26/10/2020) HOW IS IT SIGNIFICANT? Labassa, Caulfield is of architectural, aesthetic and historical significance to the State of Victoria. WHY IS IT SIGNIFICANT? Labassa, Caulfield is of architectural significance as the most prominent example of a small number of houses built in Australia in the French Renaissance style. It is of further note due to the German interpretation of the style and the use of Hellenistic sources, via Germany. It is exceptional for its lavish treatment externally, including marble, scagliola, caryatids, swagged columns, mansard roofs and ornamental cresting. Labassa is of architectural significance as the most important surviving example of German architect, John Koch's domestic work. He undertook a large variety of work in Melbourne, including a number of houses, however Labassa is the most lavish example of his work. Labassa is of aesthetic significance for its outstanding assemblage of late nineteenth and early twentieth century European style interior decoration, which remain remarkably intact. These include a trompe l'oeil ceiling, painted ceilings, embossed imitation leather and other papers, chimney pieces, ceramic tilework, oak parquetry and stained glass, including a tripartite window by Ferguson and Urie, probably dating from the 1873 period. Labassa is of historical significance as an illustrative example of the wealth acquired by a number of prominent Victorian families in the second half of the 19th century. The early development of the property, Sylliott Hill, was due to the wealth acquired by Richard Billing, barrister and fifth Victorian to be appointed Queen's Counsel in 1878. The significant development in 1890 of Ontario, is illustrative of the wealth of Alexander Robertson, a partner in Cobb and Co., a director of Goldsborough Mort & Co., and a pastoral speculator. John B. Watson, whose father had acquired great wealth from the goldfields of Bendigo and subsequently invested in city and country properties, was the third resident to impact on the house, particularly the interiors. The Labassa estate is of historical significance as an illustrative example of the development that occurred in such suburbs as Caulfield in the 1880s due to the land boom, its proximity to Melbourne and the establishment of the Melbourne to Gippsland railway in 1879. It is also illustrative of an estate which succumbed to the pressures of subdividing in the early twentieth century, as properties became difficult to maintain and demand for land close to the city grew. It was typically divided into flats in the 1920s and was used as such for about sixty years. It is of historical significance for its associations with the remnants of the earlier estate which remain extant. These include the stables, conservatory (H2005) and tennis pavilion which all remain on separate sites. Also significant are the remains of early electrical wiring and fittings. Labassa was one of the first houses in Caulfield to be electrified and some of the original wires remain. [Online Data Upgrade Project 2004]Page 128 of Photograph Album with four photographs (two portrait and two landscape) of Labassa.Handwritten: "Labassa" 4 Manor Grove [top right] / Neg 232 8 Oct 1966 [under bottom right photo] / 128 [bottom right]trevor hart, bracketed eaves, slate roof, bay windows, decorative brackets, caulfield north, labassa, richard a. billing, balaclava road, orrong road, sylliott hill, william lyall, crouch and wilson, alexander william robertson, ontario, 1880's, john a. b. koch, mansion, john boyd watson, labassa grove, french renaissance style, l-shaped arcaded verandah, bluestone plinths, balustraded parapet, flat topped mansard roofs, conical roof, elaborate cornices, corinthian columns, caryatid consoles, marble panels, imitation marble, scagliola, tower, conservatory, stables, tennis pavilion, mouldings, decorative glass, caryatids, swagged columns, ornamental cresting, trompe l'oeil ceiling, embossed imitation leather, oak parquetry, stained glass, tripartite window, triple window, ferguson and urie, 1870's, flats, 1920's, electric wiring, 1860's, verandahs, curved windows, arched windows, italianate, terraces, gargoyles, ornamentation, ornate entrance, la bassa, manor grove, st kilda east, victorian, cast iron work, john koch, richard billing, architects, electrification, john mickle, land subdivision, mrs watson, labassa estate, robert hannon, national trust of australia (victoria), sculpture -
Glen Eira Historical Society
Album - Album page, Labassa, 4 Manor Grove, Circa 1972
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. HISTORY:-- From Victorian Heritage Database citation for Labassa https://vhd.heritagecouncil.vic.gov.au/places/278 as at (26/10/2020) Labassa, Caulfield is one of Melbourne's most lavishly decorated nineteenth century mansions. It resulted from the extensive remodelling in 1890, of an earlier house, known as Sylliott Hill, which was begun in 1862-3 for lawyer, Richard A. Billing. The land at the corner of Balaclava and Orrong Roads was first acquired in 1854 by William Lyall, transferred to his partner, John Mickle, in 1859, who also acquired the adjoining allotment in Balaclava Road, and the three allotments were conveyed to Billing. His first eight-roomed house was extended significantly in 1873 into a twenty-roomed house by architects Crouch and Wilson, who were possibly also responsible for the first house. This reflected Billing's success as a barrister, and he resided at this property until his death in 1882. In 1883 prominent Melbourne businessman, Alexander William Robertson, leased the Sylliott Hill property from Billing's widow, and in 1885 he purchased the adjoining allotment in Balaclava Road. He purchased the Billing's property in 1887 and renamed the 6.31 hectare property, Ontario. In 1889-90, Robertson commissioned the German born architect, John A. B. Koch, to extensively remodel the house into a thirty-five roomed mansion. The existing house was extended and altered, largely resulting in the nineteenth century mansion as it now appears. After Robertson's death in 1896, the house was tenanted until it was eventually sold to the mining millionaire, John Boyd Watson, in 1904. He renamed the property Labassa and carried out repair and re-decoration work to the house. In the early twentieth century, many large estates were subdivided into smaller allotments as the demand for land grew and it became difficult to maintain such large estates. After Watson's death in 1911, portions of the Labassa estate were offered for sale, with Mrs Watson retaining a 1.73 hectare portion containing the house. In 1913 forty-six allotments were auctioned at Labassa Estate, with the formation of Labassa Grove and Ontario Street to the east of the property. Labassa was first recorded as containing flats in 1923 and in the late 1920s, the owner, Robert Hannon, built a red brick block of flats adjacent to the house. Subdivision continued, until the National Trust of Australia (Victoria) purchased the house in 1980 and subsequently purchased adjoining sites, one to the south-east in 1984 (house demolished in 1988) and to the west in 1988. Labassa as it now stands is substantially as it appeared when Koch completed the work in 1890. The original two storey house was transformed into a French Renaissance style mansion, with the addition of a two level L-shaped arcaded verandah and two prominent terminating bays to the south and the east. The building is of unpainted cement render with dressed bluestone plinths, balustraded parapet and steep, slate covered, flat topped mansard roofs behind. A truncated conical roof is a feature of the south bay and a helmeted head is incorporated in the parapet over the east bay. The main south and east facades incorporate many cast cement details, including sculptures, elaborate cornices, swagged Corinthian columns and caryatid consoles flanking the entrance porch, as well as pink marble panels and imitation marble, or scagliola, on curved surfaces. At the rear of the building is a two storey wing and a single storey cottage, the former being connected to the main house by a tower. This section of the house was constructed in 1873. The estate at its peak included stables (1873), conservatory (probably 1890) and a tennis pavilion (probably 1890). All of these outbuildings survive, with the stables and conservatory being converted for residential use after 1922. Internally a range of decorative treatments remain from the late nineteenth century and the early twentieth century, both from the Robertson and Watson periods of occupancy. These include wallpapers, ceiling decoration, chimney pieces, mouldings, joinery and decorative glass.From Victorian Heritage Database citation for H0135 Labassa 2/2A Manor Grove Caulfield North https://vhd.heritagecouncil.vic.gov.au/places/278 as at (26/10/2020) HOW IS IT SIGNIFICANT? Labassa, Caulfield is of architectural, aesthetic and historical significance to the State of Victoria. WHY IS IT SIGNIFICANT? Labassa, Caulfield is of architectural significance as the most prominent example of a small number of houses built in Australia in the French Renaissance style. It is of further note due to the German interpretation of the style and the use of Hellenistic sources, via Germany. It is exceptional for its lavish treatment externally, including marble, scagliola, caryatids, swagged columns, mansard roofs and ornamental cresting. Labassa is of architectural significance as the most important surviving example of German architect, John Koch's domestic work. He undertook a large variety of work in Melbourne, including a number of houses, however Labassa is the most lavish example of his work. Labassa is of aesthetic significance for its outstanding assemblage of late nineteenth and early twentieth century European style interior decoration, which remain remarkably intact. These include a trompe l'oeil ceiling, painted ceilings, embossed imitation leather and other papers, chimney pieces, ceramic tilework, oak parquetry and stained glass, including a tripartite window by Ferguson and Urie, probably dating from the 1873 period. Labassa is of historical significance as an illustrative example of the wealth acquired by a number of prominent Victorian families in the second half of the 19th century. The early development of the property, Sylliott Hill, was due to the wealth acquired by Richard Billing, barrister and fifth Victorian to be appointed Queen's Counsel in 1878. The significant development in 1890 of Ontario, is illustrative of the wealth of Alexander Robertson, a partner in Cobb and Co., a director of Goldsborough Mort & Co., and a pastoral speculator. John B. Watson, whose father had acquired great wealth from the goldfields of Bendigo and subsequently invested in city and country properties, was the third resident to impact on the house, particularly the interiors. The Labassa estate is of historical significance as an illustrative example of the development that occurred in such suburbs as Caulfield in the 1880s due to the land boom, its proximity to Melbourne and the establishment of the Melbourne to Gippsland railway in 1879. It is also illustrative of an estate which succumbed to the pressures of subdividing in the early twentieth century, as properties became difficult to maintain and demand for land close to the city grew. It was typically divided into flats in the 1920s and was used as such for about sixty years. It is of historical significance for its associations with the remnants of the earlier estate which remain extant. These include the stables, conservatory (H2005) and tennis pavilion which all remain on separate sites. Also significant are the remains of early electrical wiring and fittings. Labassa was one of the first houses in Caulfield to be electrified and some of the original wires remain. [Online Data Upgrade Project 2004]Page 129 of Photograph Album with three landscape photographs of Labassa. One of the photographs is of Labassa's drive and gates.Handwritten: 4 JUNE 1910 / SALE JUNE 28 1910 "LA BASSA' / "AUSTRALASIAN" FORMERLY "ONTARIO"/ RES OF JOHN B WATSON / 15 ACRES 3 ROADS [under bottom left photo] / 4 JUNE 1910 [under bottom right photo] / 129 [bottom left]trevor hart, bracketed eaves, intricate lacework, slate roof, bay windows, decorative brackets, caulfield north, labassa, richard a. billing, balaclava road, orrong road, sylliott hill, william lyall, crouch and wilson, alexander william robertson, ontario, 1880's, john a. b. koch, mansion, john boyd watson, labassa grove, french renaissance style, l-shaped arcaded verandah, bluestone plinths, balustraded parapet, flat topped mansard roofs, conical roof, elaborate cornices, corinthian columns, caryatid consoles, marble panels, imitation marble, scagliola, tower, conservatory, stables, tennis pavilion, mouldings, decorative glass, caryatids, swagged columns, ornamental cresting, trompe l'oeil ceiling, embossed imitation leather, oak parquetry, stained glass, tripartite window, triple window, ferguson and urie, 1870's, flats, 1920's, electric wiring, 1860's, verandahs, curved windows, arched windows, italianate, terraces, gargoyles, ornamentation, ornate entrance, la bassa, manor grove, st kilda east, gates, cast iron work, richard billing, architects, john koch, electrification, victorian style, drives, john mickle, land subdivision, mrs watson, labassa estate, robert hannon, national trust of australia (victoria), sculpture -
Glen Eira Historical Society
Album - Album page, Munster Avenue, Circa 1972
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. This house continues to occupy the property at 5 Munster Avenue Carnegie (Google map image capture Feb 2019).Page 136 of Photograph Album with one landscape photograph of an Edwardian house on Munster Avenue.Handwritten: Munster Street / Avenue [top right] / 136 [bottom right]trevor hart, garden, verandah, bull nosed verandah, edwardian, coloured glass, corrugated iron roof, bay window, gable, chimneys, porch, munster avenue, carnegie, box bay window, weatherboards, cast iron work, timber houses -
Glen Eira Historical Society
Album - Album page, Glenmoore, St George's Road, Circa 1972
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 Victorian Heritage Database citation for HO59 Glenmoore, 1 St Georges Road Elsternwick https://vhd.heritagecouncil.vic.gov.au/places/35202 as at 30/10/2020 "Glenmoore" is locally significant as a surviving mid nineteenth century villa residence in the then fashionable bi-chromatic brick form. It is also important as the home of Hugh Moore who built several shops in nearby Glen Huntly Road and which remain as important contributors to the architectural character of the Elsternwick Shopping Centre.Victorian Heritage Database citation HO59 Glenmoore, 1 St Georges Road Elsternwick https://vhd.heritagecouncil.vic.gov.au/places/35202 An imposing two storeyed villa in bichrome brick with two storeyed timber posted verandah, coupled with cast iron lace frieze, spandrels and central tympanum enrichment. The hipped roof is in slate and has a prominent crean1 brick chimney stack forming part of the facade. Openings are flat arched although the entrance is round arched with a fan light. The south elevation has bayed windows. Two storeyed hip roofed additions are sympathetic and attached on the north side and at the rear. Inside, the staircase and stained glasswork with initials "HM" and family coat of arms are important surviving elements. INTEGRITY: Good, timber outbuildings of an early date, mature and spacious front garden includes early palm trees. Alterations include reconstruction of facade verandah including tiled pavement and front door on east side. Interior has a high level of integrity. Original grounds included adjoining "Carramar".Page 178 of Photograph Album with three photographs of Glenmoore, St Georges Road. Handwritten: "Glenmoore" 1 St George's Road [top right] / 178 [bottom right]trevor hart, chimneys, porch, mansion, slate roof, return verandah, stained glass, cast iron frieze, glenmoore, 1860's, hugh moore, glenmoore estate, double storey, elsternwick shops, st george's road, thomas watts, elsternwick, victorian style, protruding bay windows, cast iron work, bi-chromatic bricks, gardens, balconies, moore's buildings, glen huntly road, stairs, house names -
Glen Eira Historical Society
Album - Album page, Staniland Grove, Circa 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. 15 Staniland Grove is a contributory property to HO72 Elsternwick Estate and environs.Page 192 of Photograph Album with one photograph of a house on Staniland Grove.Handwritten: Staniland Street altered to Staniland Grove [top right] / 15 STANILAND ST [under photo] /192 [bottom right]trevor hart, chimneys, porch, villa residence, garden, verandah, 1890's, late victorian, decorative brackets, cast iron lacework, 1880's, slate roof, single storey, cast iron columns, cast iron frieze, elsternwick, boom period, triangulated pediment, coloured glass, mosaic tiling, complex tiled patterns, pots, italianate, staniland grove, rendered -
Whitehorse Historical Society Inc.
Domestic object - Kerosene Lamp
Used by donor's parents in their home in Croydon in the 1950s.Glass kerosene lamp. Consists of base and the bowl for kerosene. Base has a wrinkled finish. Bowl has a metal holder for the wick and its adjuster. Chimney is missing and is to be purchased.lighting, kerosene & oil, glass technology, glassware -
Warrnambool and District Historical Society Inc.
Functional object - Petromax lantern, Ehrich and Graetz, Berlin, Germany, c. 1920
This is a vintage lighting mechanism probably dating from the 1920s. It would have been used in a household or business to provide lighting for a room. It is quite heavy so would have mostly rested on a table or ledge. It is a Petromax lantern, a brand name for a type of pressurised paraffin lamp that uses a mantle. The Petromax lantern was developed in 1910 by Max Graetz of the firm of Ehrich and Graetz of Berlin, Germany (petro= petroleum, max=Max Graetz).The Petromax lantern is still produced todayThis lantern is of antiquarian interest as an example of household lighting100 years ago.This is a lantern with a metal base, a wooden stem painted black, a metal body holding a piece of circular glass and a metal top with perforations acting as a chimney. The base has a hand pump and a removable screw cap to enable the base to be filled with paraffin. The main body has a screw holder to control the lighting and a pre-lighting mechanism and a mantle fitting inside the glass. The mantle is missing.PETROMAX No. 886 MADE IN GERMANYvintage lighting, petromax lanterns -
Glen Eira Historical Society
Document - Christian Family
Six documents on the Christian Family. Nine typed pages by Robert Trumble dated 08/02/1974. Extracts taken from two books written by him about the Christian family in Australia. Three pages about Thomas Christian and Myoora from Caulfield Historical Society Newsletter April/June 1974. Handwritten notes on Thomas and Violet Christian from 1886-1891, possibly taken from Rate Books, unsigned and undated. Handwritten information from the Public Record Office Victoria giving extract of register of Wills, Vol.W1, page 39 Christian, Thomas. Unsigned and undated. Photocopied UK incoming passenger list dated 28/04/1899 showing Mrs. Christian, eight children and maid on the ship Wakool, from Ancestry.com.au Newspaper item dated 26/01/2013 from the Saturday Age mentioning Coolart Homestead, late Victorian mansion, owned at one stage by Tom Luxton who was married to Gertrude Christian.christian thomas, christian violet mary, christian dorothy, christian emily, barclay frank, baker blanch miss, christian florence, trumble hugh, christian arthur james, christian may, player charles dr., llaneast, house names, player janet, player alison, player dorothy, myoora, christian gertrude, christian grace, richards henry caselli, richards harry, trumble robert, trumble kathleen, christian dorothy, dandenong road, caulfield, luxton thomas j., trumble ken, christian edgar john, emery irene, the golden age of cricket, the trumble family in australia, dunstan john r., o’donnell j., caulfield historical society, alma road, hawthorn road, dandenong road, craigellachie, orrong road, p.c. day dawn, p.c. gold mining company ltd., charters towers, mines and mining, gold mining, balconies, verandahs, cast iron work, towers, stained glass, mansions, ievers william, pfeiffer frederick, newmann violet mary, lloyd john charles, architects, menderson anketell, brooke family, servants, stairs, teacher work, cellars, flats, slate tiles, roofs, chimneys, fireplaces, land subdivision, coach houses, reed henderson and smart (architects), wills, ships, wakool -
Glen Eira Historical Society
Album - Album page, Glenferrie Street, 4, Circa 1972
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