Category Victoria

Mar 12 2012

24-05-1876: Academy of Music, Bourke Street Melbourne, Victoria.

The Victorian Arcade and Academy of Music (The Bijou Theatre) was designed by Reed & Barnes.  The foundation stone was laid by the Governor of Victoria, Sir George Ferguson Bowen, on Tuesday 23rd May 1876 in Bourke Street Melbourne and opened in the same year. It was destroyed by a fire on the 22nd of April 1889.

The Australasian Sketcher with Pen and Pencil, Melbourne, Saturday 10th June 1876.

 “… Mr. Aarons, in his determination to make the effect as handsome as possible, has instructed Messrs. Ferguson and Urie to fill in the screen between the landing of the dress circle door and the arcade with stained glass. This screen is divided by columns, mouldings, and other appropriate architectural devices, into a large central and several other window openings. The central opening is to be filled in with a copy, in stained glass, of Wenterholter’s [sic] portrait of Her Majesty the Queen, of which, fortunately there is a full-size copy in our Houses of Parliament …”.

Weekly Times, Melbourne, Vic, Saturday 22nd July 1876, page 11.

“THE NEW ARCADE AND ACADEMY OF MUSIC”
“…One of the most striking features of the whole design, however, will be an immense stained glass screen forming the end view from the arcade. This screen, divided into nine panels, has for the centre a colossal figure of Her Majesty the Queen, 11ft high, and done in the most exquisite manner by Messrs. Ferguson and Urie, of this city. Eight smaller panels – four on each side – will show allegorical pictures of music and the drama, while eight large circles will be filled with life-size busts of the most eminent musical and dramatic composers and authors – all done in stained glass…”

A new Bijou Theatre was designed by George Johnson but was demolished in the early 1900’s. The Commonwealth Bank (219-225 Bourke street) now stands on the site.

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External links:

♦ Web site: Australian Variety Theatre Archive

♦ Biography: George Lewis, first lessee of the Bijou Theatre.

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Mar 11 2012

30-11-1875: Closure of Melbourne Colonial Exhibition.

The Argus, Melbourne, Tuesday 30th November 1875, page 5.

On the closure of the Melbourne Colonial Exhibition, some of Ferguson & Urie’s stained glass were chosen by the committee to be included as exhibition examples to be shipped to New York on the “Skerryvore” on Saturday the 4th of December 1875 for participation in the Philadelphia exhibition.

Mar 11 2012

17-09-1875: The Victorian Exhibition awards of 1875.

The Argus, Melbourne, Friday 17th September 1875, page 3.

“JURY AWARDS AT THE EXHIBITION”

 “Lyon, Cottier, and Co, Sydney, 119, stained window, second prize”.

“Ferguson and Urie, Melbourne – 120, 121. stained windows, &c, first prize”.

Mar 11 2012

02-09-1875: The 1875 Victorian Exhibition Catalogue.

Ferguson & Urie exhibited their stained glass work at the Victorian Intercolonial Exhibition which was opened on the 2nd of September 1875. The official catalogue of exhibits, page 47 Group 4, listed Ferguson & Urie as well as former business partner John Lamb Lyon as Lyon, Cottier & Co of Sydney, exhibiting along side each other. The articles make mention of “Mr Clarke’s mansion, Sunbury” known as Rupertswood, now operating as boutique accommodation and events venue. The Rupertswood windows, span two floors and contain scenes of hunting and countryside that were the work of the firms’ senior stained glass artist David Relph Drape, some of which have Drapes name hidden within the scenery.

The Victorian Intercolonial Exhibition Catalogue 1875, page 47.

– LYON, COTTIER & CO., Sydney, New South Wales. Stained Glass Stairwell Window. Subject – “Captain Cook”.
– FERGUSON & URIE, 10 Collins-street East, Melbourne. Staircase on wall Window, “The Seasons”, Staircase on wall Window, “Rob Roy”, Portion of Staircase Window for Mr. Clarke’s mansion, Sunbury, Embossed Plate Glass for do, “Chillingworth Wild Cattle”, “The Maries at the Tomb”, “The Charge to Peter”, Samples of margins.

Notes on the above tabloid article:

1. “The Seasons” – unknown (possibly Mandeville Hall, Toorak).
2. “Rob Roy” – unknown.
3. Clarke’s Mansion Sunbury – This is ‘Rupertswood’ – All stained glass is extant.
4. “The Maries at the Tomb” – unknown.
5. “The Charge to Peter” – unknown.

The Argus, Melbourne, Friday 3rd September 1875, page 3s

“The exhibits of Messrs. Ferguson and Urie, Nos. 120-121, afford gratifying proof of the demand which exists amongst us for works of decNotes:orative art, and the designs for the works which have been executed by them give us some idea of the extent to which the local manufacturers of painted glass have drawn upon in the decoration of our churches and large dwellings. The designs of almost all these, as well as that in the specimens exhibited, are excellent – lacking, if anything, in boldness – the colours in almost all instances being rich, and at the same time harmonious. Messrs. Ferguson and Urie have, we suppose, to consult the taste of their patrons, which is, we do them the justice to believe, the reason why a picture on glass of Chillingham Cattle has been prepared. Nothing more contrary to the true principals which should have been kept steadily in view in this development of art could possibly be conceived. As an illustration of glass painting of quite a different, but at the same time more boldly artistic school, attention must be called to a staircase window, designed as a memorial of Cook, the navigator, the seated figure being designed by a thorough artist, and the patterns containing illustrations of the typical animals and birds of Australia being especially worthy of notice. The colour is, however, wanting in richness. This exhibit is from the workshops of Messrs. Lyon, Cottier, and Co., Sydney.”

Excerpt from Intercolonial exhibition 1875 – Official Catalogue Advertiser:

“FERGUSON & URIE, GLASS STAINERS, No. 10 Collins Street East. Memorial, Heraldic, and Grisaille; Stained Glass Windows for Churches and other Buildings, executed at the Stained Glass Works, Curzon-street, North Melbourne. Illuminated Commandments and Wall Decorations; Embossed Plate and Sheet Glass, any pattern; Lead Lights in Cathedral, Crown, Sheet and Ornamental Glass. Designs submitted with Estimate of Cost. Awarded two Medals, Melbourne Exhibition, 1867. Stained Glass Works, Curzon-street, North Melbourne”.

Mar 10 2012

1889: St John’s Church of England, Sorrento, Victoria.

St John’s Anglican Church at Sorrento was built of local Limestone in 1874. It was used by the Presbyterian and Anglicans for services and other community functions and later, solely by the Anglican’s. The transepts were built in 1889 by George Morse who was the original architect/builder of the church.

The “Prince Consort” stained glass window, made by the Ferguson & Urie stained glass company of North Melbourne, was installed in the South Transept at this time. The window was originally installed in St Paul’s Anglican Church on the corner of Swanston and Flinders street Melbourne which was demolished in 1889 to make way for the new St Paul’s Cathedral.  Canon Chase was the original Donor of the stained glass window for St Paul’s and when it was decided that the original stained glass was not applicable for the new Cathedral it was returned to him for his decision to donate it elsewhere as he saw fit. Despite the intimations of the tabloids that it would be installed in the “Working Men’s College”, he eventually chose St John’s Anglican Church at Sorrento where it has resided for the past 125 years.

Australian Heritage database, Place ID: 5797, File: 2/18/021/0004, Registered 21/03/1978.

 “… St John’s Church of England, Nepean Highway, Sorrento, was commenced in 1874, the transepts being added in 1889 and the chancel during 1908-11…”

 “… The transepts were built in 1889, presumably also by Morce. The stained glass windows in the easterly transept were donated by St Paul’s Anglican Church in Melbourne which was demolished in 1889.…”

Photos were taken on 25th September 2010.

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The Australasian Sketcher with Pen and Pencil, Melbourne, Monday 27th July 1885, page 115.

“OLD MELBOURNE.
REMOVAL OF ST. PAUL’S PRO-CATHEDRAL”.

“ST. PAUL’S PRO-CATHEDRAL., which is being pulled down to make room for the new cathedral, has an interesting history. It was the third church built in Melbourne, St. James’s and St. Peter’s being the other two older edifices, and the date of it’s inception takes us back to the early days of the colony…”

“…The window in the chancel is a beautiful work of art, illustrative of the ancestry and life of the Prince Consort. The design has been most carefully studied, and every detail is in harmony with and descriptive of some national emblems or traits of Prince Albert, and only that the chancel is in an unsuitable place to disclose the beauties of the window, it would have been far more noted and prized than it is. The window was at first intended to be the gift of the public, and one of the lady members of St. Paul’s Church collected £50 towards paying for it, but the Rev. Canon Chase at that stage presented the window, and at his request the subscriptions were devoted to the general building fund. Now that the church is being pulled down, the Building Committee have placed the window at the disposal of the donor, as the subjects of the windows of the new cathedral have already been chosen; and the Rev. Canon Chase is willing to present his gift to the Working Men’s College, which it is thought it would most appropriately adorn, considering how actively the Prince Consort exerted himself in the cause of social progress. The other memorial window at the east end of the north aisle was erected by the Sunday School of St. Paul’s Church as a mournful token of the esteem in which the wife of the incumbent, the Rev. Canon Chase, was held. There are also decorative windows in the galleries which would have been spared if the ephemeral nature of the career of the church could have foreseen, but no doubt other parishes will be eager to acquire them and replace them in their mullions, which are to be carefully preserved…”

In 1984 Melbourne University Student G. Marie Moore wrote in her thesis;

“One of this firm’s better known works is the three-light Albert Memorial window of 1877, now in the south transept of St. John’s church Sorrento. It was originally designed and made by the company for the chancel of the old St. Paul’s church in Swanston Street, together with two smaller windows, depicting. Peter and Paul. The Church of England Messenger described the memorial in glowing terms:

“…the middle portion of the window is filled by three crowned figures under canopies. The central king holds a sceptre. Above his head is the inscription ‘Oh Lord, in Thee have I trusted’. Beneath his feet, ‘Hezekiah Rex’. The Royal figures on his right and left hand hold respectively a harp and the book of the Law. The inscriptions above them are, ‘Praise the Lord’ and ‘In Thy Law is my delight’. Beneath them, ‘David Rex’, ‘Josiah Rex’. The upper portion of the window is divided (in the middle) into four small compartments, containing the emblems of England (lion), Scotland (crown held by a lion), Wales (three feathers), Ireland (harp). An aval on either side displays a cherub holding a scroll lettered in black on a white band, ‘When the righteous are in authority the people rejoice’. The lower portion beneath the kings has three large compartments. That in the centre displays the arms of the late Prince Consort resting on those of the Queen. On the right, the lion of England, in gold on crimson; on the left the unicorn, in silver on crimson. At the foot of the window, lettered in white (mediaeval) on black ground ‘In memory of His Royal Highness, Franc is Albert Augustus Charles Emmanuel, Prince Consort, died Dec. 1861. A brass plate under the window is inscribed in old English and carries the inscription:

“Fear God, Honour the King”. It is more than likely that David Drape was the artist responsible for this spectacular piece, as Lyon had already left the partnership in 1873 and moved to Sydney. Drape as an architect, was fully aware of the differences of our climate from that of European countries, and this is readily apparent in the brilliant colouring of the glass manipulated to cope with the high lights of our country…”[1]

The Prince Consort window at Sorrento was restored by Geoffrey Wallace’s Stained Glass studios in 2011.

The most recent historical event associated with this stained glass window was celebration of the life of Geoffrey ‘John’ Nathan (1931-2013). John died on the 28th June 2103. and his service was held at  at St John’s Anglican Church at Sorrento on the 12th of July 2013. John was the grandson of ‘James Urie’ of the stained glass firm ‘Ferguson & Urie’ who had originally created the masterpiece in stained glass.

Related posts: 27-07-1885: St Paul’s Pro Cathedral, Flinders St, Melbourne, Victoria.

Footnotes:

[1] Antipodean Gothic – Melburne University Thesis 1884, G. Marie Moore.

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Mar 9 2012

1864: Burke Museum, Beechworth, Victoria.

Amongst the most famous secular stained glass windows created by the Ferguson & Urie company is the Burke memorial window at the Beechworth Museum in Northern Victoria.

In 1861 the former Superintendent of Police at Beechworth, Robert O’Hara Burke (1821-1861), met his demise during the infamous ‘Burke & Wills’ expedition, an event which is well recorded in Australian history.

The expedition was reportedly the most expensive ever undertaken at over £60,000 and the loss of seven lives and was the topic of much discussion at the time and still is after over a century and a half.

Newspapers all over Australia wrote of the expedition in great detail and monuments to Burke an Wills began to appear across the colony.

At Beechworth, in July 1864 it was reported that a design for a Burke memorial stained glass window, submitted by John H. Cuzner (Principal of Beechworth Grammar School and Hon. Sec of the Athenaeum), would be accepted, but the window would not come to fruition for another ten years until 1874.

Photos taken 18 Dec 2011.

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The window features the Colonial Flag of Australia, the red Cross of St George, the White Rose of England, the emblem of New South Wales in gold within the red cross, the Thistle of Scotland, the Shamrock of Ireland and the Southern Cross in gold stars with the wording “Burke Memorial”. The window was reportedly made for £30 and still exists in remarkable condition and is now the centrepiece attraction in the museum. The museum guides, pamphlets and advertising sign outside the museum all include pictures of the window and there are postcards of the window on sale.

An article on the wall at the Beechworth museum (18th Dec 2011) reads:

“In 1861, when the disastrous fate of the Burke and wills expedition became known in Beechworth it was decided that a monument be erected in memory of Robert O’Hara Burke who, as Superintendent of Police for the whole Ovens district from 1854-1858, has been stationed in Beechworth. The Athenaeum building was extended in 1863 to incorporate a museum and in 1874 the Burke Memorial stained glass window was made to order by Ferguson & Urie of Melbourne at the cost of thirty pounds. The building was further extended with the addition of wings on three sides from 1971-1979.”

“Robert O’Hara Burke was chosen by the Royal Society of Victoria to lead an expedition across Central Australia in 1860-61. Burke succeeded in crossing the Australian continent from south to north, but at a terrible price; the expedition cost him his life. The crossing ranked Burke as one of the most controversial figures in the history of Australian exploration”.

“Some called him ‘The mad amateur bushman’, others said ‘He was betrayed at the hour of success’, The Royal Commission set up to investigate the disaster which overtook the expedition, concluded by issuing the following statement: “We cannot too deeply deplore the lamentable result off an expedition undertaken at so great a cost to the Colony; but while we regret the absence of a systematic plan of operations on the part of the leader, we desire to express our admiration of his gallantry and daring”.

In 1864 the concept of a memorial stained glass window has been adopted and a design by Mr. Cuzner has been approved.

Ovens and Murray Advertiser, Beechworth, Vic, Saturday 2nd July 1864, page 2. 
“BEECHWORTH ATHENAEUM – The first meeting of the new Committee is to be held on Monday evening next, when we are informed, it is contemplated to bring under consideration the desirability of attempting to get up a Bruce Auction for the purpose of obtaining funds to complete the Burke Museum, and render it suitable for the object it is intended to accomplish; also, a better plan than at present adopted for ensuring all subscribers easy access to the books they may desire to take home from the Library. The advantages of a Museum to the district are so apparent that we feel confident the public will liberally respond to any well considered project to give that of the Athenaeum a fair start, and look forward to shortly having to congratulate the town on the possession a collection that will be creditable not only to the Athanaeum, but to this part of the colony, being aware that there are gentlemen on the committee able and willing to render great assistance in its formation. It is considered by many that the subscribers to the building itself should have an opportunity given them of expressing their approval, or otherwise, of the intended memorial to ‘Burke,’ and we are sure the Athenaeum Committee will be anxious to give them satisfaction before definitely determining on the carrying out of the design. We, ourselves, highly approve of the memorial window, designed by Mr Cuzner, as being both useful and ornamental, and merely express the feeling we have heard for the information of the Committee. Steps are also to be taken with the view of commencing the lecture session without unnecessary delay, and from the material of which the Officers and Committee are composed, we have every assurance that all that energy and zeal can accomplish will be done to preserve the Athenaeum in its present efficiency, and to give satisfaction to members of that very useful Institution.”

Mr Cuzner’s design for the window would remain on ice for the next ten years. In 1874 it finally came to fruition.

Ovens & Murray Advertiser, Beechworth, Vic, Saturday 1st August 1874, page 5.
“…The unsightly boarding in the oval aperture in the end wall of the Museum has been replaced by a stained glass window, intended to commemorate the memory of the ill-fated explorer from whom this part of the institution takes its name, and if not everything that could have been desired, your Committee trust it will be considered as a great improvement upon the state of things that previously existed. The cost of this memorial window is £30, which will be augmented by the cost of placing it in the position designed for it…”

The window is the only known extant Ferguson & Urie stained glass in an oval shape and is now artificially lighted from behind.

External Links:

Biography: Robert O’Hara Burke.

National Archives: Burke memorial window.

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Mar 8 2012

1874: The German Lutheran Church, Parliament Place, Melbourne, Victoria.

The German Lutheran Church was built in Parliament Place in 1874 and all the glazing was executed by Ferguson & Urie. The three windows in the apse are the centre piece of the church. All the windows in the Clerestory, and a number of windows in the nave with the red, blue and yellow borders are original Ferguson & Urie glass.

Photos taken 26 September 2010.

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The German Lutheran Church, Parliament place Melbourne.

The first German Lutheran church was built on the current site in 1854 by William Hellings to the designs of Bellairs, Kürsteiner & Co and was replaced in 1874 by the existing Gothic style bluestone church designed by Charles Blachmann and built by Henry Goedeke. All the original stained glass windows in the church were supplied by local stained glass company Ferguson & Urie in 1874 including the simple nave windows with plain glass diamond quarries and red and blue borders (I refer to these as their ‘stock’ windows). Some of these ‘stock’ windows were later replaced by memorial windows made by other stained glass artists. The three apse windows are all the same size with the centre one containing a different design which includes the Hexagram symbol, which is frequently seen as a symbol of the Freemasons (AKA ‘Seal of Solomon’ or’ Shield of David’), and the depiction of the Lamb of god with the victory flag and text below “Ecce Agnus Dei” which refers to John 1:29, “Behold the lamb of god, which taketh away the sin of the world”. The outer two apse windows are of identical design with an eight petal flower inside an eight pointed star which were medieval symbols of resurrection and eternal life. According to the church archives, the centre apse window was invoiced from Ferguson & Urie at £96, 12s on the 16th September 1874. At the top of the western three light window above the main entrance is a sexfoil rose design with red Y‐shaped decorations being symbols of the Trinity. The centre glass window below it was replaced in 1932 with stained glass designed by East Melbourne artist Ola Cohn.

Illustrated Sydney News, NSW, Saturday 16th January 1875, page 3.

“NEW LUTHERAN CHURCH, MELBOURNE.

In February, 1849, the first ship with German immigrants   arrived in Port Phillip; others soon followed, and formed a “Lutheran congregation, holding their services in a building in Collins-street, then the Rev. Mr. Morrison’s church, and now used as a State school. The services were conducted by laymen, a sermon being read by one of them. Mr. Matthias Goethe, one of the professors at Dr. Lang’s college in Sydney, accepted the charge, and, on Good Friday, 1853, was inducted pastor of the Lutheran congregation in Melbourne. Money was then collected, and the erection of a   Lutheran church commenced on the Eastern-hill, on ground granted for that purpose. The cost was £6000, and it was opened in 1854. In 1867 the Rev. Mr. Goethe left for California, and the Rev. Herman Herlitz, from German town, near Geelong, succeeded him as pastor; and the old church being too small, it was resolved to erect a larger and more handsome building. In August, 1872, the plans of Mr. C. H. E. Blachmann were accepted, and the foundation stone of the new building was laid on the 17th of March last. The church when finished will seat about 330 persons, and will cost nearly £4000; the building is of bluestone, with cement dressing. The length, including chancel, is 85 feet; breadth of nave, 23 feet; with aisles each side 7 feet   wide. The height inside to apex of ceiling is 36 feet. The windows to aisles and nave are filled with cathedral glass, having ornamented stained glass borders; but the apse windows are of a more costly description, all made by Messrs. Fergusson [sic] and Urie. The caps of columns carrying nave walls are beautifully foliated. All the fittings including a very handsome pulpit and reading desk, are of polished cedar and blackwood. A handsome organ presented by the Misses Moeglin, at a cost of about £400, will be put up in the gallery. The opening will take place next month”.

♦ Other References: ‘A German Church in the Garden of God’ – Melbourne’s Trinity Lutheran Church 1853-2003. Herbert D Mees General Editor.

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Mar 7 2012

24-10-1873: The Turkish Baths, Bourke Street, Melbourne, Victoria.

A building occupied by the Levy Brothers in Bourke street Melbourne was converted to Turkish baths by a Mr. S. J. Hosie.

The Argus, Melbourne, Friday 24th October 1873, page 5.

“… The stained glass windows are from the works of Messrs. Ferguson and Urie and the paintings on glass were done by Mr. Moore…”

Thomas Hosie’s Turkish Bathing Palace and Bar was opened by Governor Sir George Bowen on the 23rd of October 1873. The baths were located at Bourke Street East and no longer exists. Nothing is know what happened to the stained glass windows.

HOSIES Turkish Bathing Palace 01

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Mar 7 2012

30-09-1873: Ferguson & Urie advertise 10 Collins street for sale.

The Argus, Melbourne, Tuesday 30th September1873, page 8.

“FOR SALE, or To Let, No. 10 Collins-street east. Ferguson and Urie, Curzon-street, Hotham”.

This is one of the earliest indications that the Ferguson & Urie company had premises in Collins street. The Company didn’t end up selling the premises at address 10 Collins street and ten years later, in 1884, they decided to erect  a seven story building which would become their main business headquarters.

Related posts:

20-03-1884: Ferguson & Urie building facade approved to be made of Hydraulic Freestone.

22-08-1884 : Ferguson & Urie’s new premises.

19-08-1889: Sale of the Ferguson & Urie building in Collins Street

14-11-1899: The Auction of 283 Collins Street.

21-02-1901: The Citizens Life Assurance Company purchases the building.

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Mar 6 2012

29-08-1873: Dissolution of Partnership with John Lamb Lyon.

Victorian Government Gazette, Friday 29th August 1873, No: 64, page 1553.

“DISSOLUTION OF PARTNERSHIP – THE partnership heretofore subsisting between the undersigned James Ferguson, James Urie and John Lamb Lyon, as stained glass manufacturers, at Curzon street, Hotham, in the colony of Victoria, under the style of “Ferguson; Urie, and Lyon.” Has been this day dissolved by mutual consent, so far as regards the said John Lamb Lyon. All debts owing to and by the said late firm will be paid to and by the said James Ferguson and James Urie. Dated this fifteenth day of August 1873. JAMES FERGUSON, JAMES URIE, JOHN LAMB LYON. Witnesses to all the signatures – Saml Gillett, solicitor, Melbourne; J. C. Stewart, solicitor. No. 3709”

After ten years with the firm, John Lamb Lyon had decided to head to Sydney where he would team up with a long time friend and former fellow apprentice, Daniel Cottier, to form the Sydney stained glass firm “Lyon & Cottier”.

Victoria Government Gazette 64, Friday 29th August 1873 Page 1553

Victoria Government Gazette 64, Friday 29th August 1873 Page 1553

Related posts:

♦ 27-08-1873: The sale of Lyon’s Dudley street house.

External links:

♦ Wikipedia: Daniel Cottier

♦ Biography: John Lamb Lyon

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