Sweeney's, originally Culla Hill, a former homestead, located on a site bought from the crown in 1842 by Irishman Thomas Sweeney. The cottage is important in the history of Eltham and of architectural interest as an example of a Colonial Style dwelling. The Living room shows a wooden door and floor with rug. A window to the left, two seats and a book case. This was the home of V.C. Burston.This photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book, "Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.Digital imagesepp, shire of eltham pioneers photograph collection, eltham, sweeney's cottage, v.c. burston

14 Stokes Place (Lot 83) was the home of Peter and Carla Vermey. The land was purchased in May 1979 and construction commenced September 1979. The home was built by Peter and Carla Vermey after the developer, Macquarie Builders went bankrupt. Sold October 2017 by Morrison and Kleeman Real Estate. Stokes Place was part of the Stokes Orchard Estate which was developed from the break-up of the the orchard owned by Frank Stokes who lived on the northeast corner of Nyora Road and Eucalyptus Road. His daughter Beryl advised that the Shire had levied a rate assessment on individual parcels of land within the orchard which became unaffordable resulting in its sub-division and sell off. The Stokes Orchard Estate was developed by Macquarie Builders in two stages starting with stage 1 in 1976. Stokes Place was part of Stage 2 in 1979. The Estate was bounded between Nyora Road, Eucalyptus Road, Diosma Road and Stokes Place. The original orchard only just reached the left most portions of Stokes Place and did not go fully up to Diosma, rather to just beyond the extant of Stokes Place. Stokes Place was known within the family as "The Oats" as that is where they grew oats. Frank Stokes moved to Eltham c.1945 after visiting Harold Bird to view his orchard, located diagonally opposite Stokes Orchard from the intersection of Eucalyptus Road, Pitt Street and Nyora Road. It was on Harold Bird's recommendation that Frank purchased the land.The Stokes Orchard Estate collection is typical of housing developments of the late 1970s and 1980s. It was one of the earliest estates in Eltham following the nearby Woodridge Estate development.Digital fileScanned by EDHS from 49 x 35mm colour transparencies provided on loanstokes place, eltham, stokes orchard, stokes orchard estate, streets, houses, peter and carla vermey

14 Stokes Place (Lot 83) was the home of Peter and Carla Vermey. The land was purchased in May 1979 and construction commenced September 1979. The home was built by Peter and Carla Vermey after the developer, Macquarie Builders went bankrupt. Sold October 2017 by Morrison and Kleeman Real Estate. Stokes Place was part of the Stokes Orchard Estate which was developed from the break-up of the the orchard owned by Frank Stokes who lived on the northeast corner of Nyora Road and Eucalyptus Road. His daughter Beryl advised that the Shire had levied a rate assessment on individual parcels of land within the orchard which became unaffordable resulting in its sub-division and sell off. The Stokes Orchard Estate was developed by Macquarie Builders in two stages starting with stage 1 in 1976. Stokes Place was part of Stage 2 in 1979. The Estate was bounded between Nyora Road, Eucalyptus Road, Diosma Road and Stokes Place. The original orchard only just reached the left most portions of Stokes Place and did not go fully up to Diosma, rather to just beyond the extant of Stokes Place. Stokes Place was known within the family as "The Oats" as that is where they grew oats. Frank Stokes moved to Eltham c.1945 after visiting Harold Bird to view his orchard, located diagonally opposite Stokes Orchard from the intersection of Eucalyptus Road, Pitt Street and Nyora Road. It was on Harold Bird's recommendation that Frank purchased the land.The Stokes Orchard Estate collection is typical of housing developments of the late 1970s and 1980s. It was one of the earliest estates in Eltham following the nearby Woodridge Estate development.Digital fileScanned by EDHS from 49 x 35mm colour transparencies provided on loanstokes place, eltham, stokes orchard, stokes orchard estate, streets, houses, peter and carla vermey

Penleigh Boyd, Robin and Patricia Boyd's son, writes “Prior to 1950 Robin, like most other amateur or hobby photographers, took black and white printed photographs. The oldest slides date from 1950 when Robin and Patricia travelled to Europe on Robin’s Robert Haddon Travelling Scholarship.” In 1948 Robin Boyd was awarded ‘joint first place’ in the Robert Haddon competition for his design of Mildura art gallery. The scholarship helped fund their first overseas trip. Robin and Patricia were passengers on the Greek ship “Cyrenia” departing in May 1950, passing through the Suez Canal and landing in Genoa five weeks later. For six months, they travelled extensively throughout Europe (predominantly driving themselves) - France, Italy, United Kingdom, Sweden, Denmark, Germany, Austria, Switzerland and Spain.Colour slide in a mount. Living room of architect Bent Karlby's home in Ordrup, Copenhagen, Denmark. Note, Karlby's Peanut Pendant Lamp (1946) - centre top; two Safari Model 4700 chairs (1933) by Kaare Klint (Architect: Bent Karlby.)Copenhagen / Ordrup / Karlby, arch / Own home - Living room / 1950 (Handwritten)haddon travelling scholarship, haddon, robin boyd, slide

Robin Boyd the Anglesea E. McK. Paton House in Anglesea, c 1951. It featured on the cover of Australian Home Beautiful accompanied with the article by Nora Cooper 'Seaside Haven' pp 36-39. This image was the cover image of this volume.Cover pageFamily around living room fireplace made of stoneswalsh st library

Mayday Hills Mental Hospital was originally constructed in 1864 under the name of the Beechworth Lunatic Asylum. It was built for locals in need of help who were kept in the local gaol. In its first decade, the residents of the hospital were used as menial labourers but over time, as mental healthcare progressed, were cared for in more nuanced ways. This site became a training hospital for nurses in the 1960's. Eventually, mental health patients were moved to other care facilities and Mayday Hills was operating as a geriatric care facility. It was closed in 1995, after which the buildings and their grounds were purchased to La Trobe University to be used as a campus. The university sold the site in 2011 to private ownership. This postcard depicts an interior room which is presumed to be a living or reception room. It is filled with period furnishings. Mayday Hills Mental Hospital is a historically significant site for many factors. It is representative of healthcare practice in nineteenth century Victoria. It contains rare examples of construction and architecture. It is also significant for aesthetic and technical reasons.Black and white postcard printed on matte cardReverse: 11.5.35/ Miss Peach/ Best wishes/ from/ P. Beckman mayday, mayday hills hospital, mayday hills, mayday hills mental asylum, mayday hills mental hospital, beechworth, beechworth asylum, beechworth hospital for the insane, beechworth lunatic asylum, lunatic asylum, healthcare, health, living in country towns, living room, furniture, interior

Rev.William Morgan (b. 1915) was Moderator of Victoria in 1971.Gloss, black and white image of Rev. William Morgan sitting in a living room.morgan, w., presbyterian

A gentleman's chair, gent's chair or grandfather chair is a term usually applied in Australia to a deep upholstered Victorian easy chair, often button-backed and with upholstered arms. The chair generally stood on short cabriole legs and had a 'spoon' or a wide balloon back. The 'show wood', that is, the polished frame, was usually mahogany or walnut, although many examples in Australian red cedar have survived. There are Australian versions of the gentleman's chair, lady's chair and matching settees, usually made from cedar, and occasionally from blackwood. As cedar is a softer timber than walnut, mahogany and rosewood, from which the English versions were made, the carving is usually not as crisp as in the imported version. However, the Australian blackwood gentleman's chair is often difficult to distinguish from a good-quality English walnut example. The Edwardian form of the gentleman's chair is much squarer in outline, with short turned legs and the arms are often supported by spindles. There was sometimes a row of spindles, like a gallery, beneath the top rail. The chairs were frequently upholstered in leather.An item probably made in Australia during the latter half of the Victorian era and is significant as it was made in Australia at a time when furniture and many other household items were imported from either America or England.Armchair: gentleman's armchair of Cedar wood with brown leather upholstery, tacked and buttoned in a crocodile-skin-like effect. The wood is scalloped and carved with a Prince of Wales Feather on the back. The arms are scrolled and carved with an Acanthus leaf design, finished on tulip turned legs. All four legs have brass and porcelain castors. circa 1870, Australian-made. flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, furniture, chair, armchair, gentleman's chair, lady's chair, leather upholstery, buttoned upholstery, living room furniture, lounge room furniture, formal furniture, domestic

Schwerkolt Cottage has been furnished with vintage items of interest as evidenced by a living room photo of Albert Grice, caretaker.Schwerkolt Cottage has been furnished with vintage items of interest as evidenced by a living room photo of Albert Grice, caretaker.schwerkolt cottage, grice, albert

See Cat No 3504P a connection to Warick JOHANSON. See also Cat No 3506.23 x loose sepia photos with album. .11) Postcard photo. Items are of various sizes. .2) “ Handwritten inscriptions on back” .22) Labeled: “Taken outside our tent March 1944” .23) Labeled: “Entrance to our living room April '44”photography-photographs, military history - army

Circular cardboard box containing tightly rolled pieces of paper with Biblical quotes on them. Red ribbon handle with red felt bow.Berean Bible Promises/Directions/After reading a promise replace/Keep this box in your living room so that it may be handed to visitors or friends/and where the members of the household have free access.religion, christian

Front Corner of Living Room and bay Windows Private Home "Carlsruhe" Western Highway (Wehl) Family Demolished 1993stawell

Images of upstairs living room at Walsh St with two Arthur Boyd oil paintings and Featherston and Boyd sofas, from late 1990s perhaps.Set of 6 colour photographs

These BFK Butterfly chairs were used in the living room in Robin Boyd's first family home in Camberwell. The BKF was originally designed in Argentina, later becoming popular throughout the world.A pair of BKF Butterfly chair. Black iron/steel. They have a canvas sling hung from the frame's highest points, creating a suspended seatwalsh st furnishings, robin boyd

Building of the Police Barracks began in 1860. It included accommodation, mess room, kitchen and living room. Outhouses included lock-up, stables, toilets, storage and an officers house. It was decommissioned in 1939 and was later refurbished and used by the Bendigo Senior Secondary College.Newspaper article by Linda Barrrow date unknown. '' Barracks return to past glory'' Bendigo's refurbished police barracks will be opened next Saturday in a ceremony which celebrates the buildings' history. The refurbished barracks will be opened by Local Government minister Bob Cameron and Bendigo Mayor Willi Carney. The article briefly details the history of the barracks. There is a photo showing the barracks in 1860. The clip is in a plastic folder.newspaper, bendigo advertiser, news items

This Beco lamp was designed by Donald Brown, a pre-eminent Australian lighting designer in the '50s and '60s. Robin Boyd often specified BECO lighting, including elsewhere in his own home. This was originally a bedside reading lamp in the upper living room, as seen in the Mark Strizic 1958 photograph in Robin Boyd's book Living in Australia p129.Beco 720 lamp, with black stand base with switch and white glass shadeBrown Evans & Cowalsh st furnishings, robin boyd, ohm2022, ohm2022_25

Penleigh Boyd recalls the original holland blinds, which had beautiful little brackets fitted to the columns. The replacement blinds may not be as elegant. Robin and Patricia did things as they could afford them -- hence the very early Strizic photos of Suzy in the lower living room do not show blinds (the image on the cover of the 2013 edition of Living in Australia) but they were added shortly after, by Robin.Holland blinds on 7 windows and 2 on doorswalsh st furnishings

Sidney Clifton was a mechanical engineer and a lecturer at Melbourne University. He built the house, which is still in the family. He was a foundation member and treasurer of Darebin Parklands Association. He designed Clifton Bridge in Darebin Parklands and built the wooden formwork for it in his living room in this house. It was built with volunteers and funded by a grant from Heidelberg and Northcote Councils. He was a foundation member and treasurer of Darebin Parklands Association.B&W photograph. Sidney Clifton's house is on the right. This item and all other Darebin Parklands Association archival material is now held by State Library Victoria (Accession No: YMS 13746). Please contact State Library Victoria if access is required.

These are not original cushions in the photos by Mark Strizic in 'Living in Australia' p 83 and p129. Penleigh Boyd recalls: "the upstairs living room in the 1980s and 1990s was a much more colourful space. Arthur Boyd’s large paintings dominated the south wall and the Phillip Fox paintings as well as Tony Wood's 'In the Studio Psychologically Challenged' coloured the north wall. Patricia Boyd was experimenting with colour". These cushions were on the bed in Walsh St until around 2019.Indian cotton turquoise, rust, charcoal, mustard, beige stripe with tassels along centre. Zip on opposite side through centre square.walsh st furnishings, robin boyd

These are not original cushions in the photos by Mark Strizic in 'Living in Australia' p 83 and p129. Penleigh Boyd recalls: "the upstairs living room in the 1980s and 1990s was a much more colourful space. Arthur Boyd’s large paintings dominated the south wall and the Phillip Fox paintings as well as Tony Wood's 'In the Studio Psychologically Challenged' coloured the north wall. Patricia Boyd was experimenting with colour". These cushions were on the bed in Walsh St until around 2019.Indian cotton red, emerald green, mustard, white. Tassels and white stripes along centre. Zip on opposite side through centre square.walsh st furnishings, robin boyd

In 1949 an architect produced this plan to detail the addition of a bedroom for the nursing staff, who looked after children in the Blind Babies nursery. The plan shows a layout of the RVIB site, including the 'Myers Home' (the name of the nursery) where young children were cared for. The south and eastern elevations are detailed, as well as a plan of the nursery, which had 4 bedrooms, a living room, a dinning room , bathroom, 2 kitchen areas and the proposed additional nurses bedroom next to Bedroom 4.1 architectural plan of Myer House and proposed extensionPercy E Everett, Chief Architectroyal victorian institute for the blind, rvib nursery, plans, myer house

Mudbrick cottage, heritage listed, Lillies on Brougham Street Peter Garner Mud Brick Studio Victorian Heritage Database Listed https://vhd.heritagecouncil.vic.gov.au/places/55317 From Shire of Eltham Heritage Study (Bick 1992) Cultural Significance: Constructed by Peter Garner when he was just 16 years old, this studio exemplifies the highly creative structures erected in the Shire of Eltham during the I960s and 1970s and the social movement behind them, both of which Eltham is well known for. The Garner studio is one of the two finest small examples of these structures anywhere in the Municipality and is distinguished by the quality of its fittings, also all designed and made by Peter Garner. Sharing the common use of mud brick and second-hand materials, these structures reflect the physical involvement (and individual creativity) of their owners, often, as in Garner' s case, through building the building and making all of its fittings and artworks. The tree branch framed spiral stair and wrought metalwork are particularly fine. History: Arthur F. Munday who was associated with the Montsalvat Artists' Colony, subdivided a property bounded by Maria Street (now Main Road) and Brougham Street in 1964. The largest portion, three acres of land facing Brougham Street in Lot 2, was sold to Leslie and Lenore Garner. A sketch in Lodge Plan 65141 drawn at the time of the subdivision showed that the southern part of the land was subject to flooding. By 1967 a brick house with an iron roof and outbuildings had been constructed for the Garners and Peter Garner's separate studio followed in 1969. DESCRIPTION: Studio Style Eltham style. Design unique. Plan rectangular; living room occupies northern two thirds, with kitchen in remainder and bedroom on top of the kitchen. A store adjoins the kitchen. Single storey with attic bedroom; living room has a cathedral ceiling. Walls adobe (solid single skin mud brick), bluestone chimney. Roof gabled with eaves, corrugated iron clad. Features are the modest size, living room into which the front door opens directly, exposed mud brick walls internally, fireplace, most unusual spiral stair and small gallery off the bedroom, herringbone brick floor, log faced internal doorway that separates kitchen and living room, timber lined ceiling, exposed truss, the various second-hand windows and their placement and the outbuilding. Also the kitchen doorway, adzed table and benches, fireplace high relief metal panel and other art works are features and all were presumably made by Peter Garner, following the ethic of the time. The present owner has advised (4 May 2025) the spiral staircase was removed prior to their taking possession of the property.david taylor collection, eltham, 62 brougham street, peter garner adobe studio

Mudbrick cottage, heritage listed, Lillies on Brougham Street Peter Garner Mud Brick Studio Victorian Heritage Database Listed https://vhd.heritagecouncil.vic.gov.au/places/55317 From Shire of Eltham Heritage Study (Bick 1992) Cultural Significance: Constructed by Peter Garner when he was just 16 years old, this studio exemplifies the highly creative structures erected in the Shire of Eltham during the I960s and 1970s and the social movement behind them, both of which Eltham is well known for. The Garner studio is one of the two finest small examples of these structures anywhere in the Municipality and is distinguished by the quality of its fittings, also all designed and made by Peter Garner. Sharing the common use of mud brick and second-hand materials, these structures reflect the physical involvement (and individual creativity) of their owners, often, as in Garner' s case, through building the building and making all of its fittings and artworks. The tree branch framed spiral stair and wrought metalwork are particularly fine. History: Arthur F. Munday who was associated with the Montsalvat Artists' Colony, subdivided a property bounded by Maria Street (now Main Road) and Brougham Street in 1964. The largest portion, three acres of land facing Brougham Street in Lot 2, was sold to Leslie and Lenore Garner. A sketch in Lodge Plan 65141 drawn at the time of the subdivision showed that the southern part of the land was subject to flooding. By 1967 a brick house with an iron roof and outbuildings had been constructed for the Garners and Peter Garner's separate studio followed in 1969. DESCRIPTION: Studio Style Eltham style. Design unique. Plan rectangular; living room occupies northern two thirds, with kitchen in remainder and bedroom on top of the kitchen. A store adjoins the kitchen. Single storey with attic bedroom; living room has a cathedral ceiling. Walls adobe (solid single skin mud brick), bluestone chimney. Roof gabled with eaves, corrugated iron clad. Features are the modest size, living room into which the front door opens directly, exposed mud brick walls internally, fireplace, most unusual spiral stair and small gallery off the bedroom, herringbone brick floor, log faced internal doorway that separates kitchen and living room, timber lined ceiling, exposed truss, the various second-hand windows and their placement and the outbuilding. Also the kitchen doorway, adzed table and benches, fireplace high relief metal panel and other art works are features and all were presumably made by Peter Garner, following the ethic of the time. The present owner has advised (4 May 2025) the spiral staircase was removed prior to their taking possession of the property.david taylor collection, eltham, 62 brougham street, peter garner adobe studio

The painting was purchased at an exhibition at Australian Galleries. This Melbourne institution was established by Tam and Anne Purves in June 1956. Robin Boyd designed the Purves family home in Kew in 1967. After hanging this artwork in the living room, Robin Boyd arranged to have the three-seater sofa in this room reupholstered in red (previously yellow) to match the Wood's painting. Tony Woods won a Harkness Scholarship in 1968 and travelled to the USA - he abandoned figuration after leaving Australia. Another figurative painting by Tony Woods, titled "In the Studio Psychologically Challenged", also hangs in Walsh Street.Man with closed eyes, with various arm positions, on a red sofa.The reverse is inscribed with Australian Galleries and the title and Woods '67.tony woods, australian galleries, purves, robin boyd, walsh st artwork, ohm2022, ohm2022_19

Robin Boyd had the sound system put in by a friend who ran the iconic Thomas’ Music in the city of Melbourne. The Boyd family thinks that Robin designed the facade and logo for Thomas’ Music. Penleigh Boyd recalls "there was no 'hi-fi' record player in the living room until about 1963. Robin always had the speaker holes in the floating joinery unit but couldn’t afford the necessary equipment till years after we had moved into the house. Apparently one time some guest looked at the speaker holes (they had matchstick blind screening) and asked Robin what type of equipment he had. That was enough for Robin, and he immediately had a system installed - the one that is still there." (See also the amplifier item F030.)Turntable without lidthomas' music, sound system, walsh st house, ohm2022, ohm2022_8

Robin Boyd had the sound system put in by a friend who ran the iconic Thomas’ Music in the city of Melbourne. The Boyd family think that Robin designed the facade and logo for Thomas’ Music. Penleigh Boyd's recalls " there was no “hi-fi” record player at the living room end till about 1963. Robin always had the speaker holes in the floating joinery unit but couldn’t afford the necessary equipment till years after we had moved into the house. Apparently onetime some guest looked at the speaker holes (they had matchstick blind screening) and asked Robin what type of equipment he had? That was enough for Robin, and he immediately had a system installed - the one that is still there." See also item F029.Tempo solid state stereo amplifier in timber surroundthomas' music, sound system, walsh st house, robin boyd, walsh st