Councillor William Boyd was the son of Alexander Boyd who emigrated from Scotland and purchased the property known as Tarrone station in 1884. William managed the station grazing cattle and sheep. The area was later to become part of the Soldier Settlement land after the Second World War.Black and white portraitbelfast, president, government, portrait, shire, council, municipal, local-government, tarrone

Popular Alm won the Bendigo Pacing Cup on the 12 January 1982, followed by William Boyd and Master Kane. Popular Alm owned by Sun Group, was trained and driven by RV Knight. Popular Alm raced from 1979 (2yo) through to 1985 (8yo). Career: 49 wins 7 seconds 3 thirds 62 starts. Refer to Identifier 15.24 (Media) for Full Career Performance Record.Two colour photographs, one small one large in a brown frame. At the top: Bendigo Trotting Club 12-1-82/ Pacing Cup At the bottom: Left corner: Distance 2700 metres/ Mile rate 2.06-1/5 / Greg Matthews Photo - Stawell Centre: Popular Alm (Sovereign Adios - Direct Design) / William Boyd 2nd / Master Kane 3rd Right corner: Owned by- Sun Group/ Trained and driven by - RV Knightbendigo harness racing club, horses, race, winner, bendigo trotting club, pacing cup, driver, trainer, owner, 1982, popular alm, rv knight, sun group, william boyd, master kane, bob knight, vj knight, vin knight

Fives copies of Universal Weekly was a magazine for Motion Picture exhibitors. Used by Keith Rash / Gem Pictures. Five copies of the Magazine 'Universal Weekly' and a publicity flyer. .1) 32 page magazine dated 17 August 1929 with Ken Maynard on the cover. It includes information on Broadway, Showboat, The wagon Master, Girl Overboard, Universal, Scotland, College Love. .2) .1) 32 page magazine dated 20 July 1929 with George Lewis and Dorothy Gulliver on the cover. Contents include College Love, Show Boat, The Drake case, Wagon Master, The Ace of Scotland Yard, Melody Lane. .3) 32 page magazine dated 24 August 1929 with Hoot Gibson on the cover. Contents include: Points West, Show Boat, The Ace of Scotland Yard, College Love, Wagon Master, Early to Wed, The Danger Line. .4) 32 page magazine dated 02 November 1929 with Paul Whitman on the cover. Contents include: All Quiet on the Western Front, Skinner Steps Out, Rhapsody in Blue, Shanghai Lady, Out to Kill, The College Racketeer, La Marseillaise, The Phantom of the Opera, The Mississippi Gambler, Skinner Steps Out, Uncle Tom's Cabin, The Wagon Master. .5) 32 page magazine dated 15 March 1930 with Cohens and Kellys Scotland on the cover. Contents include: The Storm. Hide Out, Phantom of the Opera, Showboat, Jade Box. .6) Small promotional flyer for Carl Laemmle's 'The Last Performance'. ken maynard, broadway, carl laemmle, news reels, mary nolan, john boles, louis cohen, eddie leonard, jack daugherty, frank merrill, gershwin. wynn holcomb, lupe velez, william boyd, tod brownning, e.m. asher, albert de mond, graham mcnamee, helen wright, gem pictures, wagon master, s.s. majestic, h.h. van loan, show boat, george sidney, charlie murray, jocelyn lee, carl larmmle, pennants, george lewis, the drake case, harry taylor, eddie leonard, josephine dunn, minstrels, newsreels, theatre, movies, graf zeppelin, paul whitman, the king of jazz revue, glenn tryon, merna kennedy, the shannons of broadway, bob shawkey, charles d. dawes, the college racketeer, charles rickford, fred kohler, raymond hutton, hell's heroes, the mississippi gambler, james murray, kathryn crawford, ted browning, joan marsh

A Bendigo Advertiser supplement titled 'Our Art: well housed in Bendigo.' The Education Officer of the Bendigo Art Gallery, Geoff Paynter, gives an insight into some of the acquisitions purchased by, or donated to, the gallery. There is also an article imbedded within this article on 'Woman of the franchise era.' 14/5/1969.bendigo, buildings, bendigo art gallery, lydia chancellor collection, collection, bendigo, bendigo art gallery, gallery, art, art work, recreation, landscapes, australian landscape, history, r.h.s. abbott prize , john rowell, 'mountain road, ' 'gums, ' sir hans heyton, alfred sisley, 'canal scene, ' dr. and mrs. j. a. neptune scott, impressionism, 'the derelict, ' sali herman, bendigo art prize, emmeline pankhurst, victorian women's franchise league, print, photograph, porcelain, porcelain study design no. 599, w. j. strauchair, 'bondi 1961, ' william dobell, william beebe, arthur boyd, 'pinchin's farm, ' 'the clearing, ' louis buvelot, george bell, 'farm buildings, ' franz kempf, 'burnt orange fern at the wind's return, ' 'old bendigo art gallery, ' kenneth jack, 'the digger and his log, ' sir arthur streeton

Koch's Pioneer Quartz Mining and Crushing Company, No Liability Long Gully Bendigo Share Certificate. Distinctive Numbers 48164 to 48213 in the name of William Grattan of St Kilda. Certificate Number 2930. Dated 7th December 1911. Signed by ?, Hugh Boyd, Directors and J. H. Craig, Manager. On the back is a map of the lease showing where the shaft is and a measurement of 450 yards from one side of the lease to the other beside the shaft. The lease is an irregular shape. Adjoining leases mentioned are Windmill Hill Co., G. Lansell's Sandhurst Mine, Cornish United Co. and the Hercules & Energetic Co. Arthur T. Walker, M. S. printed at the bottom. Albert Richardson Collectionmining, parish map, koch's pioneer, koch's pioneer quartz mining and crushing company, no liability, koch's pioneer quartz mining and crushing company, no liability share certificate, william grattan, hugh boyd, j h craig, arthur t walker, windmill hill co., g lansell's sandhurst mine, cornish united co., hercules & energetic co.

Contains photos and info related to Black Range Stawell William (Bill) BoydHard Cover Book Dust Cover has photo of man boxing with a kangarooAuthor: Weston Batemallee

Thirteen programmes for the Plaza theatre. 1) ''Accent on Youth'' with Sylvia Sidney and Herbert Marshall. 2) ''Transatlantic Merry-go-Round'' with Nancy Carroll and Gene Raymond. 3) ''We Live Again'' with Anna Sten and Fredric March. 4) ''Lilies of the Field'' with Winifred Shotter and Anthony Bushell. 5) ''Carnival in Spain'' with Marlene Dietrich, Lionel Atwill, Cesar Romero. 6) '' Kid Millions'' with Eddie Cantor and Ann Sothern. 7) ''The Mighty Barnum'' with Wallace Beery. 8) ''All the King's Horses'' with Mary Ellis and Carl Brisson. 9) ''Behold my Wife'' with Sylvia Sidney and Gene Raymond. 10) '' Without Regret'' with Elissa Landi, Paul Cavanagh, Kent Taylor and Frances Drake. 11) '' Clive of India'' with Ronald Colman and Loretta Young. 12) ''Texas Trail'' with William Boyd, Russell Hayden, Judith Allen, George Hayes. 13) ''Danny Boy'' with Ronnie Hepworth, Frank Forbes-Robertson, Dorothy Dickson, Cyril Ritchard.entertainment, theatre, plaza

Digitised WHS newsletters from December 1990 (no. 76) to October 1990 (no. 84). Sent to Secretary of the Ringwood Historical Research Group, Jack Lindsay.Noteable articles:- Earl Stewart bus service Brackenbury Street Yarra Yarra Mining Company Dr Owen's Puddling Machine 1927 bushfires Schult Steven Houghton Taffy Jones Great Southern Hill Caledonia Gold Mine Mary Hill - South Warrandyte Post Office Artists - Nutter Buzacott, Frank Crozier, Penleigh Boyd, William Frater, Christine Gray-Aldor Warrandyte Primary School Potter's Cottage

Marshall White is a former Merri-bek resident and artist. He completed a Fine Art diploma at the National Gallery Art School in 1973. After a severe motorcycle accident left him with quadriplegia in 1977, he returned to university, earning a Master in Painting from what is now the Victorian College of the Arts. White is considered a pioneer of digital art in Victoria. He taught art to inmates at Pentridge Prison, which provided him with access to early computers. Using a Commodore Amiga, Marshall pushed the boundaries of digital art. Strip 1 represents an early contribution to what was, at the time, an emergent art form. Inspired by William Blake and Arthur Boyd, White’s work delves into psychological spaces, addressing themes such as the apocalypse and White’s distain of religion. White's work exemplifies resilience and the transformative power of creativity in the face of challenges.Purchased

Has recently been framed and laminatedFramed list of pennants signifying ships and signals hand drawn with coloured pencil in 1915 on paper. Later corrections made in 1933 in black penM. H. T./SIGNALS/FOR THE USE OF FLOATING PLANT OCT 1915 1915/Corrected Feb 1933/ HUME/ J. A. BOYD/WILLIAM PITT/WILLIAM STRONG/CHAS DUCKETT/EDWARD NORTHCOTE/ H C PIGGOTT/BATMAN/FAWKNER/FRANCIS DUNCAN/WILLIAM ANDREWS/COMMISSIONER/PENGUIN (at Geelong)/ RED BIRD/GELLIBRAND/MOTOR BOAT NO 2 TATEGAMI/MOTOR BOAT NO 3/MOTOR BOAT NO 4/ENGINEER/HARBOR MASTER/LADY STANLEY/HOVELL/ W. S. MOUNTAIN/W.M. COWPER/G.F.H./D. YORK SYME/ SUPER of DREDGING/ASSISTANT/HARBOR MASTER/SUPER of MACHINERY/ELECTRICIAN/INSP of DREDGING/INSP of MACHINERY/INSPECTOR WHARVES/(F WILLIAMS)/INSPECTOR DOCKING/& SHIPWRIGHTS/DIVERS WANTED/ACCIDENT SEND/MEDICAL ASSISTANCE/WAITING FOR/EMPTY BARGES/DREDGING STOPPED/WEATHER UNFAVOURABLE/TAKE AWAY/EMPTY BARGES/TUG WANTED/DERRICK PUNT/WANTED/TAKE DERRICK/PUNT AWAY/TAKE AWAY/COAL BARGE/BUCKETS FOULED/OBSTRUCTION SEND/DERRICK PUNT &/DIVERS/ DREDGING STOPPED/REPAIRING/DREDGING RESUMED/ B. Harris 16.8.15/ Drawing No 3415melbourne harbour trust (mba)

George Tibbits, University of Melbourne. Faculty of Architecture, Building and Town & Regional PlanningIndex system that support the research for Beechworth : historical reconstruction / [by] George Tibbits ... [et al]Arranged by street names of BeechworthEach index card includes: street name and number of property, image of property, allotment and section number, property owners and dates of ownership, description of the property according to rate records, property floor plan with dimensions.beechworth, george tibbitsbeechworth, george tibbits

Warrandyte artist, Clara Southern, features on the Artists Trail. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p189 Since early in the 20th century this district has attracted artists and other creative people. So much so, that Eltham has been compared to the Left Bank in Paris, New York’s Greenwich Village and London’s Bloomsbury. That is until the 1970s when Eltham rapidly expanded into a suburb. However many artists still flourish not only in Montsalvat, Dunmoochin and the Bend of Islands but elsewhere in Nillumbik. Some artists who have worked or lived in Nillumbik are well-known nationally and internationally. Artists are attracted to the hilly district’s subtle colours, unique light and the Yarra River and Diamond Creek. The railway’s extension to Eltham in 1902 brought artists to paint for the day or to camp. Then many settled in Eltham, perhaps also because the poor quality land, far from the city, was cheap. Following World War Two they found they could build houses and studios cheaply by making their own mud-bricks. The flexible material, with its warm tones blending into the bush, also satisfied their aesthetic sensibilities. As early as 1900, Will Longstaff, known for his painting The Ghosts of Menin Gate at the National War Memorial in Canberra, lived at Stanhope in Peter Street, Eltham, later to become the home of intellectuals Clem and Nina Christensen. Members of Australia’s first significant art movement, the Heidelberg School of Artists, painted in Eltham, Warrandyte and Diamond Creek. Walter Withers lived at the corner of Bolton and Brougham Street, Eltham and taught Sir Hans Heysen, who for a short while stayed with the Withers family. In Warrandyte were Clara Southern, whom Frederick McCubbin taught at the National Gallery School and Penleigh Boyd, who is represented in all Australian state galleries and the National Collection in Canberra. May Vale, daughter of politician William, lived in Diamond Creek. With Jane Price they feature on the Heidelberg School Artists Trail, part of which runs through Nillumbik. The trail includes signs each displaying a reproduction of a painting by an artist and located near where the artist lived or painted. In Nillumbik the trail includes parts of Warrandyte, Eltham in the Alistair Knox Park, Main Road shopping precinct and Wingrove Park, the Research walking track on Main Road and the Diamond Creek Reserve. In 1916 artist William ‘Jock’ Frater lived at the corner of Arthur and Bible Streets, Eltham. Before then, Frater, with other artists including Percy Leason (who moved to Eltham in the mid 1920s) painted in Eltham on weekends. They camped near Bible and Pitt Streets and along the Diamond Creek where the Eltham Retirement Centre now stands.4 In 1921, painter Peter Newbury (father to painter David Newbury, who was born in Eltham) moved to Cromwell Street, Eltham. Max Meldrum, the first Australian painter to formulate a consistent theory of art largely based on tone,5 taught local artists Alan Martin, Clarice Beckett, Peter Glass and Justus Jörgensen. Meldrum visited Eltham then rented a house there for 18 months opposite Wingrove Park. In 1934, artist and architect Justus Jörgensen and his doctor wife Lil and friends built Montsalvat, the artists’ colony. Montsalvat has played an important part in attracting artists to Eltham and its mud-brick, pisé, stone and recycled building materials has had a major influence on Eltham’s built environment. Jörgensen’s students who also helped him build Monstalvat included Arthur Munday, Lesley Sinclair, Helen Lempriere, Joe Hannan, Helen, Sonia and jeweller/sculptor, Matcham Skipper. Among artists who visited Montsalvat were Clifton Pugh and Angry Penguins’ artists Albert Tucker and Arthur Boyd. Some who painted after World War Two were Alan Martin of Eltham and Warrandyte artists Frank Crozier and Harry De Hartog6, one of Melbourne’s first painters influenced by Cubism.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, clara southern, main road, research (vic), heidelberg school artists trail

Vol. 2, No. 1, Feb-Mar 1997 CONTENTS MEDALS AND MODERNISM A retrospective look at the cultural impact of the Melbourne Olympics 3 CD REVIEWS 6 NEW HORIZONS Judy Jacques takes a new direction 6 LA MAMA 30 YEARS ON Liz Jones at the helm 10 PAST AS POST CUBISM Annita Furey on Heather Shim men 14 GRAPE GRAZING FESTIVAL Food, wine and music in the Yarra Valley 16 SHORT STORY Fantasia on a cup of coffee 18 WHAT'S ON A round-up of events for February 22 WHO'S TEACHING WHAT Classes in the region 24 FRANCES DUFFY RETROSPECTIVE An artist who extended the boundaries of tonalism 26 ANDY WARHOL AND THE CAN OF SOUP More than 15 minutes of fame 27 A ‘DUTCH’ FESTIVAL COMES TO ST ANDREWS 28 LISTINGS Artists, performers and galleries 29 "Peter Dougherty has been involved in the local art scene for many years. As publisher and editor of the arts magazine Artstreams, his comments on the various branches of the arts are widely respected. His "The Arts" column in the Diamond Valley Leader presents a brief summary for a much wider cross section of the local community. Peter also operates his own gallery and the Artstreams Cafe at the St Andrews market. Peter has a wealth of knowledge about present day and historical aspects of local art and artists." - Eltham District Historical Society Newsletter No. 161, March 2005Colour front and back cover with feature articles and literary pieces with photographs and advertisements printed in black and white. 36 pages, 30 cm. Vol. 1, no. 1 (Nov. 1996) - Vol. 10, no. 5 (summer ed. 2005/​06) 1956 melbourne olympics, 1956 olympics, 1995 eltham arts ball, a.d. (archie) colquoun, abu baku, adams of north riding, afandi siyo, albert namatjira, alice (1956), andy warhol, annita furey, anthony dymke, art streams magazine, ballarat school of mines, bathing in the dark, bob sedergren, bob valentine, bourbo's belly, brian brown quntet, bulleen art & garden centre, cafe margot, charles blackman, christine edwards, circushead, clifton pugh, cottlesbridge, council amalgamation, cuddlefish, dave pithouse, david lord, david tolley, dawn sime, dione mcintyre, dixon's creek, edward grigoryan, eltham college concert band, eltham wiregrass gallery, erika mcgilchrist, fergusson winery, food for all seasons, frances duffy, fred williams, frenzi, geoff achison, geoff mainwaring, graeme bell, grape grazing festival, half caste child, heather shimmen, hoodangers, isobel lindsay, james wakeling, janette geri, john brack, john mcall, john murphy, jordie albiston, judy jacques, kath mckinnon, katherine's silly women, kelly 1956, ken harrison, kevin borland, kim harriss quartet, la mama theatre, lauurie dawes, leonard french, lighthouse, liz jones, lloyd jones, lothlorien, lovegroves, lovey's estate, luxum, maelstrom, max meldrum, may grigg, michelle nicolle, mighty servant, mirka mora, miss suzannah espie, moma, montsalvat jazz festival, moonee valley drifters, moonlight shadow, museum of modern art at heide, mystery train, the melbourne jazz band, nicole eveleigh, nigel shipley, olympomania, peter mcintyre, phyllis murphy, pip avent, portrait of georges mora (1956), ray horsfield, red shed theatre company, reed's gallery, richardson house (1955), river house (1955), robin boyd, sandro donatti, secret of the west wind, seville, shantell vineyard, shedlevellers bush band, shirley bourne, sigmund jorgensen, sir william dargie, soul sister swing, sydney nolan, that handsome couple, the band who knew too much, the broken fence (1956), the gusset rustlers, the rhonda movement, the russian gypsey jazz quartet, three amigos, victorian artists supplies, warburton, wholefood delights, yarra valley grape grazing festival, yellow dog jazz band, yering station, art streams

Built by noted artist Theodore Penleigh Boyd, father of architect Robin Boyd. Covered under National Estate, National Trust of Australia (Victoria) Local Significance and Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p111 The Robins at Warrandyte,* was once home to a member of a famous family and is also one of the first reinforced concrete houses in Victoria. The builder, Theodore Penleigh Boyd, born in 1890, was a talented painter1 noted for his works of the Warrandyte bush. He was the father of architect Robin Boyd, author of the Australian Ugliness and the uncle of painter, Arthur Boyd. Penleigh Boyd’s great grandfather was Sir William A’Beckett, Victoria’s first Chief Justice. Penleigh Boyd is considered by some to be an ‘unsung hero’ overshadowed by more famous members of his family. Mornington Gallery Director Andrea May said many believed Boyd ‘had never received the national acclaim that he deserved’.2 Classified by the National Trust3 and part of the Australian National Heritage,4 The Robins is set well back near the end of Kangaroo Ground – Warrandyte Road, unobserved by passers-by. Built in 1913, The Robins has some Art Nouveau influences and is a descendant of the Queen Anne style. It is covered in stucco and has a prominent attic, which Boyd used as a studio. Some parts of the house are up to 33 centimetres thick and built in part with pisé (rammed earth) and in part with reinforced concrete. Amazingly, Boyd built The Robins without an accessible driveway, and only a narrow track along which he had to cart building materials. The journey was uphill and Boyd terraced the land with Warrandyte rock5 without the aid of machinery. At only 33 years, Boyd was killed in a car accident in 1923. He was buried in Brighton near the home of his parents. Several people have since owned the house, including political journalist, Owen Webster. Boyd was born at Penleigh House, Wiltshire, and studied at Haileybury College, Melbourne and The Hutchins School, Hobart. He attended the Melbourne National Gallery School and in his final year exhibited at the Victorian Artists’ Society. He arrived in London in 1911 and his painting Springtime was hung at the Royal Academy. He painted in several studios in England and then worked in Paris.6 There he met painter Phillips Fox through whom he met artists of the French modern school and also his wife-to-be, Edith Anderson, whom he married in Paris in 1912. After touring France and Italy, the couple returned to Melbourne. In 1913 Boyd held an exhibition and won second prize in the Federal Capital site competition, then the Wynne Prize for landscape in 1914. In 1915 Boyd joined the Australian Imperial Force, and became a sergeant in the Electrical and Mechanical Mining Company. However he was severely gassed at Ypres and invalided to England. In 1918 in London Boyd published Salvage, writing the text and illustrating it with 20 black-and-white ink-sketches of army scenes. Later that year he returned to Melbourne, and, despite suffering from the effects of gas, he held several successful one-man shows, quickly selling his water-colour and oil paintings. In his short career Penleigh Boyd was recognized as one of Australia’s finest landscape painters. He loved colour, having been influenced early by Turner and McCubbin. His works are in all Australian state galleries, the National Collection in Canberra as well as in regional galleries.7 His wife Edith was also an artist having studied at the Slade School, London, and in Paris with Phillips Fox. After her marriage she continued to paint and excelled in drawing. In later years she wrote several dramas, staged by repertory companies, and radio plays for the Australian Broadcasting Commission, in which she took part. She was the model for the beautiful red-haired woman in several of Phillips Fox’s paintings and the family hold three of his portraits of her. *Possibly named after the Aboriginal words warran, meaning ‘object’ and dyte, meaning ‘thrown at’.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, kangaroo ground-warrandyte road, north warrandyte, the robins

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

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

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. WHAT IS SIGNIFICANT? [From Victorian Heritage Database citation for Former Labassa Conservatory - H2005 Victorian Heritage Register http://vhd.heritage.vic.gov.au/places/result_detail/12504 (25/01/2021)] The former Labassa Conservatory is believed to have been built as part of the extensive reworking of the Labassa estate in c1890 for the new owner Alexander Robertson, proprietor of the Cobb and Co line. Robertson commissioned the architect JAB Koch to remodel the house, and Koch may have been responsible for the conservatory as well. Alternatively, the conservatory may have been imported. The gates installed at Labassa in 1890 were manufactured by the MacFarlane foundry of Glasgow, Scotland, a firm known to have manufactured conservatories. Around 1917 the glass house from 'Labassa', Caulfield was offered for sale to Malvern Council for its own gardens but the offer was declined. Following subdivision of the Labassa estate in the 1920s the conservatory was converted into a residence. The structure has a simple rectangular plan, with a brick base and superstructure of cast iron columns and roof trusses. The hipped roof is surmounted by an elaborately decorated gable structure. Most of the original glass has been replaced by metal sheeting. The decoration comprises pressed metal fascias including an egg and dart style cornice moulding, mullion mouldings and gable end panels with a rising sun motif. Cast iron ridgework and finials add to the lively roof form. Internally the floor appears to have been raised as part of the conversion work to a residence, and stained timber panelling introduced to provide room spaces. Boilers probably heated the conservatory in the colder months, but these do not survive.From Victorian Heritage Database citation for Former Labassa Conservatory - H2005 http://vhd.heritage.vic.gov.au/places/result_detail/12504 (25/01/2021) HOW IS IT SIGNIFICANT? The former Labassa Conservatory is of historical and architectural significance to the State of Victoria. WHY IS IT SIGNIFICANT? The former Labassa Conservatory is historically significant for its associations with the Labassa estate. Subdivision of the estate separated a number of outbuildings from the mansion. The former conservatory is significant as part of the large scale improvements carried out to the estate in the 1890s. The nineteenth century was the great age of conservatory designs, enabled by technological developments in heating, glazing and iron. Whilst conservatories were common in botanical gardens and universities, where they were primarily used for cultivating, studying, and experimenting with plants, they had also become an accessory of the wealthy on private estates. The former Labassa conservatory is architecturally significant as a rare example of a building type. Many Victorian mansion houses had attached conservatories, but detached conservatories were much less common. The only other detached example associated with a residence known to survive on its original site in Victoria is an earlier example at Warrock homestead, near Casterton. Conservatories attached to nineteenth century mansions are far more numerous. The Labassa example is very ornate, and its decoration draws on the versatility of pressed metal and cast iron. This highlights the dual purpose of the conservatory, as both a functional structure and a picturesque building on the Labassa estate. This building is unusual as an example converted to residential use. Page 130 of Photograph Album with one portrait photograph of Labassa's conservatory.Handwritten: "Labassa" conservatory 21 Manor Grove [top right] /130 [bottom right]bracketed eaves, caulfield north, labassa, balaclava road, orrong road, sylliott hill, alexander william robertson, ontario, john a. b. koch, john boyd watson, mouldings, 1920's, la bassa, manor grove, st kilda east, architects, john koch, greenhouses, gardens, plants, land subdivisions, gates, macfarlane foundry, brick, cast iron work, hipped roofs, gables, 1890's