Victor Zelman (1877-1958) was the brother of Violinist Alberto Zelman, and Ernest Zelman. He planted gum trees around his cottage, in 7th Street Hepburn Springs , and around Hepburn Pool, many of which are still standing. He was known for driving a caravan through the bush on painting expeditions. A number of photographs showing the frieze painted by Victor Zelman, at Zelman Cottage. victor zelman, zelman cottage, painted frieze, hepburn springs

Victor Zelman (1877-1958) was the brother of Violinist Alberto Zelman, and Ernest Zelman. He planted gum trees around his cottage, in 7th Street Hepburn Springs , and around Hepburn Pool, many of which are still standing. He was known for driving a caravan through the bush on painting expeditions. Zelman Cottage in Hepburn Springs. victor zelman, zelman cottage, painted frieze, hepburn springs

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

Cypriot White Painted Ware from the Middle/Late Cypriot Bronze Age.The interior with brown band, the angled rim with three sets of lines and wavy line between, a broad band on tall neck, pierced with two string holes, above and below, a broad band on flattened globular body with frieze of vertical lines flanked by wavy vertical lines and alternating with sets of two vertical wavy lines, to broad concentric band, the underside with broad band flanked by sets of stripes. cypriot

Cypriot White Painted Ware from the Middle/Late Cypriot Bronze AgeWith loop handle, the neck with light brown horizontal lines, and the body with two friezes of vertical strokes, the lower body with a set of wavy horizontal lines, the base quartered by wavy lines centred with dots. cypriot

Cypriot White Painted Ware from Middle/Late Cypriot Bronze AgeConical neck with bands, broad band over shoulder with frieze of stripes and dotted circles to handle (missing), a broad band below the body, with cross-hatched panels alternating with panels of dotted circles, triglyph between three bands below to small foot. cypriot

Cypriot White Painted Ware from Cypriot Middle/Late Bronze Age The slender conical neck with broad band’s over two cross-hatched diamonds, the loop handle with wavy line, broad band to lower neck, the depressed body with a pair of vertical bands centred with twin wavy lines flanked by two vertical wavy lines and two sets of friezes including cross- hatched diamonds, chequerboard and cross-hatched zigzag, to flat foot. cypriot

Cypriot White Painted Ware from Middle/Late Cypriot Bronze AgeThe rim painted with a wavy line, the neck is adorned with a frieze of short vertical lines between horizontal bands, the body with frieze of short vertical lines between horizontal friezes of chequerboard, brown band above and below each, columns of short horizontal lines on lower body, band on painted foot, underside with double-crossed lines and circles in compartments. cypriot

Cypriot White Painted Ware from Middle/Late Cypriot Bronze AgeThe high looped handle is adorned with sets of lines, which continue to the body with friezes of overlapped lines. cypriot

Cypriot White Painted Ware from Middle/Late Bronze Age CyprusThe interior of the rim is lined with panels of four vertical lines, which continue to the loop handle. The exterior is adorned with two friezes of cross-hatched diamonds, the body with overlapped cross of four wavy lines. cypriot

Cypriot Bichrome Ware from Cypro-Geomteric PeriodWith two black bands around the inside of the mouth, the rim with sets of trapezoids and painted around edge, over a red band in cavetto under rim, the neck with frieze containing a panel centred with chequerboard diamond, the central square within painted red, broad band to shoulder, a black wavy line between painted twin horizontal loop handles (one missing), the lower body as a single band with a set of lines below it, foot painted. cypriot

Cypriot Bichrome Ware from Cypro-Geometric PeriodThe inside of the mouth painted with red and black lines, the rim painted outside, the tapering neck with frieze of concentric circles between horizontal lines and bands, continuing over shoulder, the body with two friezes of concentric circles divided by two lines between painted horizontal twin loop handles, over a set of horizontal lines between bands, set of three bands on lower body. cypriot

Cypriot Bichrome Ware from Cypro-Geometric PeriodThe neck and body with horizontal dark and light black lines and bands, the body with a frieze of concentric circles between painted twin horizontal loop handles (one missing). cypriot

Cypriot Bichrome Ware from Cypro-Geometric PeriodBlack band around mouth and exterior of rim, triangles alternating with blank panels on rim, the neck with red band over sets of black lines and bands, a central crosshatched panel flanked by vertical lines, the shoulder with frieze of triangles flanked by lines, alternating with zigzag panels flanked vertical lines, a wavy black line between painted twin horizontal loop handles over three bands, single band on lower body, foot painted. cypriot

Cypriot White Painted Ware from Cypro-Geometric PeriodThe neck with frieze of dark brown crosshatched diamonds flanked by three vertical lines alternating with blank panels, bands above and below, two bands on shoulder, and two columns of crosshatched diamonds flanked by three vertical lines and blank panels, between painted twin horizontal loop handles, bands above and below, single band on lower body. cypriot

Cypriot Bichrome Ware from Cypro-Geometric/Cypro-Archaic PeriodBlack band and set of lines painted on interior, the rim with horizontal red band between sets of black lines, shoulder with another set of horizontal black lines, the painted horizontal twin loop handles with frieze of concentric circles on each side between, a set of horizontal lines between two bands below, single band on lower body, foot painted. cypriot

Cypriot Bichrome Ware from Cypro-Geometric/Cypro-Archaic PeriodThe rim painted black, a horizontal line around the interior, the neck centred with wavy line between horizontal lines, two red bands, black band at bottom, shoulder with two red horizontal lines above set of black lines within two bands, the painted horizontal twin loop handles with frieze of three concentric circles on each side, over set of horizontal lines with bands, lower body with two horizontal red lines, single black band below. cypriot

Cypriot Bichrome Ware from Cypro-Geometric/Cypro-Archaic PeriodThe inside of the mouth painted, the neck with sets of lines and wavy bands, over frieze of spots, the shoulder with three red bands alternating with sets of lines, over painted twin loop handles, with red and black cross-hatched panels between, red band between sets of lines below, double lines to lower body, band and set lines over painted foot. cypriot

Cypriot White Painted Ware from Cypro-Geometric/Cypro-Archaic PeriodThe inside of the mouth has two dark black bands, the rim has a zigzag painted on the outer rim. The neck has a frieze of cross-hatched diamonds. The shoulders are centred with cross-hatched chequerboard triangles flanked by wing like shapes. the painted twin loop handles have two cross-hatched diamonds. (neck chipped and heavily repaired). cypriot

Cypriot Bichrome Ware from Cypro-Geometric/Cypro-Archaic PeriodThe interior with broad red band, the exterior is painted to the twin vertical double ribbed handles, the neck and shoulder each have a frieze of concentric circles, broad horizontal black band between, ochre painted horizontal line centred over circles, a broad red band between, black bands on body, red band over lower body and foot. cypriot

Cypriot Bichrome Ware from Cypro-Geometric/Cypro-Archaic PeriodThe lip and double strap handle painted back, the narrow column neck with two bands at top and one at bottom, the shoulder with frieze of concentric circles, over set of lines, two red and two black bands below. cypriot

Cypriot Bichrome Ware from the Cypro-Archaic PeriodWide mouth, the lip with black lines extending to shoulder, above twin vertical strap loop handles painted with crossed lines, and a frieze of alternating red and black crossed staffs and concentric circles between, encircling bands below. cypriot

Cypriot White Painted Ware from Cypro-Archaic PeriodThe inside of the rim and the round of the mouth are painted. The neck has two friezes of circles separated by lines, two bands above and below and a set of lines on the shoulder. The body has columns of concentric circles painted between the twin-looped handles, another set of horizontal lines below. cypriot

Cypriot Bichrome Ware from Cypro-Archaic PeriodThe rim of the wide mouth with bands, continuing on to shoulder over twin vertical double ribbed handles painted with stripes and horizontal lines, above a series of horizontal lines and bands overlapped by a frieze of alternating red and black vertical crossed staffs, a wavy band below and a single band on lower body. cypriot

Ordsall, renamed Southesk in the 20th century was built for John Halfey in or before 1865. The house was rebuilt in the 1870s to designs by architect Michael Hennessy. In 1882 the house was redecorated by the firm of Cullis Hill & Co., who hired the artists 'Mr Vandenbrandt' and 'Signor Rizzi" to paint the ceilings of the ballroom and the drawingroom. The artistic triumph was described in detail in The Argus, 30 October, 1882. In 1947, Southesk was purchased by the Kew City Council. For 23 years it was used as a meeting place for community groups. The house was then demolished in 1970 to make way for a new Town Hall.The interiors of the two main reception rooms at Ordsall included some of the most outstanding domestic frescos painted in Australia in the late Victorian period. These frescos were executed by artists hired by the firm of Cullis Hill & Co. While a number of photographs were taken of the interiors prior to the house's demolition in 1970, this small fragment of the fresco is one of only three extant. The fresco allows conservators to examine and evaluate fresco techniques of the period.A fragment of the painted domed ceiling of the drawingroom of Ordsall (later renamed Southesk) which once stood at the corner of Cotham Road and Charles Street, Kew. This rectangular fragment of painted plaster is a small section of the rectangular frieze of neo-gothic scenes that were a feature of the drawingroom ceiling. The fragment differs from those remaining from the ballroom in that it includes a section of gold leaf.Label: 'This is from "Southesk" drawing room'ordsall, southesk, cullis hill & co., halfey, john

A picture of the original Gordon Lodge lodge-room of 1886 - room currently in use by the Lodge's artist-in-residence. Below is a newspaper article from the North Melbourne Advertiser (Vic: 1873 - 1894) for Friday 22 April 1887 that describes the architecture of the building at the time of its completion. From some of the details included in the article it is obvious that the journalist who wrote the article was a Freemason. THE MASONIC HALL ASCOT VALE North Melbourne Advertiser (Vic. : 1873 - 1894) Friday 22 April 1887 THE MASONIC HALL ASCOT VALE The now Masonic Hall, Ascot Vale, the foundation stone of which was laid by the Worshipful Master of the Gordon Lodge (Bro, W. F. Lamonby) in October last has just been completed, and will be formally opened: with grand Masonic ball on the 13th prox. The hall stands on a fine block of land having a frontage of 50ft to the Maribyrnong road by a depth of 130 ft., and is built of brick and cement on a most substantial foundation of bluestone. The Tuscan style of architecture has been adopted with the most successful result, and the front design which is especially handsome, includes four massive pilasters with frieze architrave and enriched cornice, forming the entablature of the order,- and giving a most imposing appearance. The front door, over which are the masonic emblems, is seven feet wide, and two escape doors made to open outwards in compliance with the Central Board of Health regulations are also provided, in case of emergency. In the vestibule is a very fine elliptic arch with keystone enriched with fruit, and the whole floor, 9ft. 6in. wide, is laid with Cawkwell's encaustic tyles. On the right, of tile vestibule is a commodious committee room 22ft. by 12ft 6in with side entrance for members, so that in case the main hall is engaged no inconvenience need be caused. On the left is the Secretary's room, and off this again is a staircase cellar. The vestibule is well lighted with two exceedingly pretty chandeliers, which have a very pleasing effect and give it a nice bright appearance ascending a handsome staircase leading from the vestibule the upper storey is reached, and here everything is splendidly arranged, especially 'the Lodge Room, which is a model of neatness and of comfort. The dimensions are 28ft. x 22ft 6in. with an elevation of 17ft. 6in. to the beautiful cove ceiling, which is quite a work of art. At the east end of the room on a raised dais is the master's chair with the masonic emblems, and neat forms of polished kauri are placed at the sides for members, about 150 of whom can be accommodated. The lighting and ventilation have both been well attended to and all is very complete. The main hall is 75ft. by 35 ft. with a stage 15ft. deep, leaving the auditorium 60ft. x 35ft. with a seating capacity about 600. Round the walls up to 6ft 6in. is a handsome dado in Portland cement and above it are panelled Tuscan pilasters to the entablature, architrave enriched frieze and medallion cornice forming the main cornice to the hall. Immediately inside the cornice is a sunken panel all-round the ceiling relieved with ornamental outlet ventilators. There are twelve large windows, six on each aide, and the sashes, skirting boards, and doors throughout the building are beautifully painted in imitation of grained cedar. Two enormous gas reflectors, each for 50 lights are suspended from the ceiling and besides these, four elegant hanging chandeliers for lighting up the proscenium, and back of the stage, under which is a storeroom for seats, &c, when the hall is required for a ball. The floor is made of kauri, secretly nailed, and is beautifully finished off. At the back of the stage are two lavatories and ladies and gentlemen's dressing rooms, between which are a connecting passage for a call boy. Outside is a capital asphalted yard, and the other usual conveniences on an improved plan. There is a right-of-way asphalted on each side of the building, and a large lamp is to be placed opposite the main entrance to light up the front. Everything that forethought and ability could suggest to make the hall comfortable and popular has been done, and it now only remains for the public to avail themselves of the advantages offered them by the enterprising Company. The cost of the building and furniture, including a magnificent piano, was £2,500, and the land £300. Mr J. C. M. Cowan, of Ascot Vale, is the architect, and Messrs Parker and Pater, of South Melbourne, the contractors. The plastering was done by Mr I Nicholas, of Murray Street, Moonee Ponds, who is also entitled to great praise for his splendid workmanship. Mr Cowan has been most assiduous and particular in seeing that his instructions were carried out to his satisfaction, and the result must be exceedingly gratifying to him and to the directors. The Masonic hall is only one of the many buildings erected by Mr Cowan in this district, among the others being the well known residences of Meessrs. J. Levy, Mooneo Street; W. Murphy, Eglington street; G. Groube, Maribyrnong street; C. A. Arvier, Moonee Ponds ; and F. Paul, Mount Alexander road. It may also be mentioned that Mr Cowan generously presented the plans for the now local fire brigade tower which is acknowledged to be one of the strongest and most graceful around Melbourne, The new Masonic Hall does infinite credit to the borough, and in accommodation, design, and comfort it is not surpassed by any similar building of the kind outside the city.

Original name of dwelling 'Nithsdale' retained by present owners.Colour photograph of a timber dwelling at 357 Lakes Tyers Beach Road, with corrugated iron hipped roof, decorative timber frieze under veranda, bay window on front room, painted heritage colour. Lake Tyers Victoriahouses, architecture

The interior decoration of Villa Alba was completed by the interior decorating firm The Paterson Brothers. All of the interior surfaces of the house were painted, often with figurative murals. The frieze in the Dining Room of Villa Alba was completed by Hugh Paterson in 1883-4, and depicts scenes from Walter Scott's novels 'Rob Roy' and 'The Heart of Midlothian.' High quality photographic record of the frieze with annotations by Robyn Riddett9-page annotated photographic catalogue of the Walter Scott frieze in the Dining Room of Villa Alba, Kew, as painted by Hugh Paterson in 1883-1884. The (PDF) file includes the annotated photographs, taken by Trevor Mein for Robyn Riddett's study of the VA interior. The order of the photographs in the document was determined by Robyn Riddett. The scenes, depicted in panels, are taken from two Scott novels: 'Rob Roy' and 'The Heart of Midlothian'.villa alba museum, domestic interiors -- 1880s, hugh paterson, the paterson brothers, walter scott, the heart of midlothian, rob roy

The internal decorative scheme of Villa Alba is significant as a fine example of the work of the leading Melbourne decorators, the Paterson Brothers. It is one of their first interiors to depart totally from the use of pre-prepared wallpapers of repetitive designs and it is a rare and comprehensive extant example of their domestic work. The decorative schemes in the ground floor hall, the dining room, the drawing, the vestibule, the stair hall, the upper hall, bedroom 1 and the boudoir are also individually of significance as outstanding examples of Victorian decoration. The frieze in the Dining Room of Villa Alba was painted by Hugh Paterson in 1883-1884, and depicts scenes from Walter Scott's novels 'Rob Roy' and 'The Heart of Mid-Lothian.'High quality photographic record of 'The Heart of Mid-Lothian' section of the frieze with annotations by Robyn Riddett and Andrew Dixon. Photographs were taken by Trevor Mein.Panels 11 to 17 of scenes from Sir Walter Scott's novel 'The Heart of Mid-Lothian'. Positioned below the architrave, each panel or lunette is separated by tromp loeil columns. The Heart of Midlothian section of the frieze is located on the east wall, continuing clockwise from above the door. [The panels on the north, west and east walls depict scenes from Scott's 'Rob Roy'.][The captions on each image were created by Robyn Riddett and Andrew Dixon using the text of each novel as a reference]villa alba museum, domestic interiors -- 1880s, hugh paterson, the paterson brothers, walter scott, the heart of midlothian, the heart of mid-lothian