1884: Gunsler’s Cafe, Pitt Street, Sydney, New South Wales

Gunsler’s Café in Pitt Street Sydney was built in 1884 to the designs of Melbourne architect Lloyd Tayler and had ornamental stained, coloured, and plate glass decorations supplied by the Ferguson and Urie Stained Glass Company of North Melbourne.

Photos: The historical engravings of Gunsler’s Sydney premises were published in the Illustrated Sydney News, NSW, Tuesday 23rd September 1884 and the Melbourne premises were published by May & Ebsworth in July 1879.

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Illustrated Sydney News, NSW, Tuesday 23rd September 1884, page 3.

“Gunsler’s Cafe, Pitt Street.
It has always been a source of surprise to visitors, that a city like ours should be so inadequately supplied with first class restaurants. Efforts have been made within the last few years to remedy this want, but it has remained for an enterprising man like Mr. Gunsler, known for years as the leading caterer in Australia, to go into the matter thoroughly, and by long acquired experience, combined with a large expenditure of money, to provide Sydney with an establishment second to none in the southern hemisphere. Mr. Gunsler, encouraged by the patronage received at the temporary establishment in King Street, secured the premises known as 175 Pitt Street, close to the Federal Bank, and having obtained suitable designs from Mr. Lloyd Tayler, of Melbourne, has erected an admirably arranged building…”

“…The shop windows are of plate-glass, the upper compartments of the lights being filled in with coloured glass of various designs. The upper portions of the windows above are similarly treated, and the effect produced by this artistic ornamentation of the frontage is highly pleasing. In the central compartment of the tower is written on glass “Gunsler’s Café,” and the electric light apparatus is fixed up at the back, by means of which establishment will be splendidly advertised over the length and breadth of the city. A clock is inserted in the pediment that forms the central feature of the structure. Above the shop windows in the frieze of the main cornice the words “Gunsler’s Café” are again prominent, standing out clearly in gold lettering on a ground of plate-glass; the light over the main entrance is filled with ground glass bearing the word ‘Café” embossed in gold letters…”

“..The general contractors for the building were Messrs. White and Coghill, of Paddington. The fittings were supplied by Mr. James Aylward, of Redfern; the ornamental coloured-glass and plate-glass by Messrs. Ferguson and Urie. Mr. F. Messenger acted as clerk of works…”

John Ferdinand Gunsler (c.1827-1911).

In April 1873 John Ferdinand Gunsler entered into partnership with Charles James Hughes as “Hughes & Co”, pastry cooks and confectioners, at 29 Collins street Melbourne[1]. By September of the same year the partnership was dissolved by mutual consent[2] and Gunsler brought out Hughes’s share of the business but traded under the same name until early 1874 when he then began trading under his own name.

Having gained special appointment as caterer to the Governor Sir George Ferguson Bowen in September 1874[3], he quickly gained widespread recognition as reputable caterer and restaurateur and for many years was chosen for many significant government, sporting, regal and private events around Melbourne as the preferred caterer for all occasions.

In February 1878 he admitted Henry George Iles (1850-1899), a gold buyer and investor, as a financial partner in the business and then traded under the name of “Gunsler & Co”[4]. In August of the same year they purchased an allotment of dilapidated buildings in Collins Street known as ‘Petty’s block’ from the estate of Mr George Petty[5] and under the direction of architect Lloyd Tayler[6], proceeded to build Café Gunsler which opened in June 1879[7]. In later years the Café was known as the Vienna Café (1890-1915). The Australia Hotel was built on the site c.1940 and is now home to the “Australia on Collins” shopping centre at 260 Collins Street Melbourne.

Gunsler’s reputation as the very best in the catering business allowed him to expand his operations substantially. In October 1879 he brought the lease of the Victoria Club in Melbourne[8] and in May 1881 Gunsler & Co advertised that they had purchased the South Australian Club (Adelaide Club Hotel) at North-Terrace[9] and in 1882 they purchased the former Bank of South Australia building in Adelaide which was converted to a family Hotel[10].

In January 1884 Gunsler ventured into New South Wales and advertised from temporary premises at 110 King Street Sydney[11] and later built the opulent “Gunsler’s Café” at 175 Pitt Street Sydney which had the ornamented windows supplied by the Ferguson & Urie stained glass Company of Melbourne.

Gunsler obviously had a great affection for the architectural work of Melbourne architect Lloyd Tayler, having engaged him to oversee the design and construction of his Melbourne premises and the later Sydney premises. The other choice of having the Ferguson & Urie stained glass company of Melbourne provide the glazing is also unusual, considering that by 1884, a number of local Sydney firms such as Ashwin & Falconer and Lyon & Cottier could have easily undertaken the work. What is most likely is that Lloyd Tayler had chosen Ferguson & Urie to complement his designs which possibly means that Gunsler’s Melbourne restaurant may also have had decorative glazing done by Ferguson & Urie, but there has been no evidence found to support this.

Gunsler’s Café in Pitt Street Sydney burnt down on the 27th January 1889[12].

John Ferdinand Gunsler died in Sydney on the 28th November 1911 aged 84[13].

Footnotes:

[1] The Argus, Melbourne, Vic, Friday 18th April 1873, page 3.

1867: St Peter’s Anglican Church, Woolloomooloo, Sydney, New South Wales

The foundation stone of St Peter’s Anglican Church was laid on the 1st of May 1866[1] on the corner of Anne and Bourke streets at Woolloomooloo (now Darlinghurst) by the Governor Sir John Young (1807-1876) and was officially opened on the 25th of July 1867[2] by the Bishop of Sydney, Frederick Barker (1808-1882).

The great east window of St Peters is a 16ft high triple light window of Gothic design with the centre light taller than the outer two. The window was the gift of the ministers Church Warden and Treasurer of the building fund, James Gordon[3], to commemorate the installation of the first incumbent of the church, the Rev George Harman Moreton (1826-1902).

The window was made by the “Ferguson, Urie, and Lyon”[4] stained glass company of Melbourne for £182[5] and was placed on display at the company’s workshops in Curzon-street, North Melbourne. Between the 20th and 22nd of June 1867 the public were invited to view it until 4.p.m on the Saturday before it was to be shipped to Sydney[6].

St Peter’s was deconsecrated in 1993 and subsequently purchased by the Sydney Church of England Girls Grammar School (SCEGGS) and is now known as the “Great Hall” of the School at Darlinghurst.

Photos taken 6th May 2011.

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The window is described as follows:

The base of each window bears the following inscriptions:

“PRESENTED BY JAMES GORDON, ST PETERS DAY A.D. 1867”.

“TO BEAUTIFY THE HOUSE OF GOD AND TO COMMEMORATE THE”

“INSTALLATION OF THE REVd G. H. MORETON AS FIRST INCUMBENT OF THIS CHURCH”.

There are nine biblical scenes and three symbols depicted in the windows. Each of the nine figurative scenes has the text reference below it to a chapter and verse from the King James Bible.

Left light:

“John – 1:42”“And he brought him to Jesus. And when Jesus beheld him, he said, Thou art Simon the son of Jona: thou shalt be called Cephas, which is by interpretation, A stone.” This refers to Peter, also known as Simon Peter.

“Luke – 9:32”“But Peter and they that were with him were heavy with sleep: and when they were awake, they saw his glory, and the two men that stood with him”.
The depiction is of the ‘Transfiguration’ which is one of five major milestones in the life of Jesus.

“Matw – 8:25”“And his disciples came to him, and awoke him, saying, Lord, save us: we perish.” The scene depicts the disciples pending shipwreck in the rough seas calling for the Lord to save them.

Centre Light:

The apex of the centre light window contains the Hexagram symbol, more commonly recognised as the Star of David.

“Matw – 26:36”“Then cometh Jesus with them unto a place called Gethsemane, and saith unto the disciples, Sit ye here, while I go and pray yonder”. The scene depicted is commonly recognised as ‘The Agony in the Garden’.

“SALVATOR MUNDI.” –  (Meaning, “Saviour of the World”). This is the central image of the centre light and depicts Christ standing and wearing crimson robes. In his left hand is the “Globus Cruciger” (representing the world or earth) which is surmounted by a cross. His right hand depicts the early Byzantine hand gesture of the benediction or blessing.

“P X” – Below Christ is the stylized letters P & X which are the Greek for Christ.

“Mark – 14:22” “And as they did eat, Jesus took bread, and blessed, and brake it, and gave to them, and said, Take, eat: this is my body.” The scene depicted is commonly recognised as “The Last Supper.”

“IHS” – Below the Last Supper Scene is the letters “IHS”, the 8th century abbreviation for “IHESUS,” the way Christ’s name was spelled in the Middle Ages.

Right light:

“Matw – 14:29” – “And he said, Come. And when Peter was come down out of the ship, he walked on the water, to go to Jesus.” The image depicts Peter walking on the water towards Jesus who had sent the disciples to the Sea of Galilee, but their ship became caught in a storm. Jesus was seen walking upon the water and gave Peter the courage to walk upon the sea towards him.

“John – 19:26” – “When Jesus therefore saw his mother, and the disciple standing by, whom he loved, he saith unto his mother, Woman, behold thy son!” The scene depicted is the Crucifixion where Jesus is nailed to the cross and says to his mother, “Woman, behold your son.”

“John – 21:17” – “He saith unto him the third time, Simon, son of Jonas, lovest thou me? Peter was grieved because he said unto him the third time, Lovest thou me? And he said unto him, Lord, thou knowest all things; thou knowest that I love thee. Jesus saith unto him, Feed my sheep.” Christ is depicted as the Good Shepherd with his sheep and Peter is seen kneeling before him with his key.

Significant historical newspaper transcriptions:

The Argus, Melbourne, Thursday 20th June 1867, page 5.

There is now in view at the stained glass manufactory of Messrs. Ferguson, Urie and Lyon, Curzon Street, North Melbourne, a memorial window for St. Peter’s Church, Woolloomooloo. The window has been presented by Mr. James Gordon, on the occasion of the installation of the first incumbent, and bears an inscription to that effect. It represents five episodes in the history of St. Peter, and is designed in the early English style of art, the execution of the figures and the harmony of colours reflecting great credit on the artist employed. The window is divided into three lights, and is 16ft by 7ft in size, the middle division containing a well executed figure of our Saviour, with the motto, “Salvatore mundi”. The public will be admitted until Saturday next.”

The Argus, Melbourne, Saturday 22nd June 1867, page 3.

“NOTICE – The STAINED GLASS CHANCEL WINDOW for St. Peter’s Church, Woolloomooloo, will be ON VIEW, at the premises of Ferguson, Urie and Lyon, Curzon-street, North Melbourne, from Wednesday, the 19th, until Saturday, the 22nd inst, at 4 p.m. All interested in stained glass and church decorations are invited to inspect it.”

Empire, Sydney, Friday 12th July 1867, page 4.

“CHANCEL WINDOW IN ST. PETER’S CHURCH, WOOLLOOMOOLOO – A beautiful stained window has just been erected over the chancel at the eastern end of St Peter’s Church, Ann-street, Wooloomooloo. This window is the gift of Mr. James Gordon. It is the workmanship of Messrs. Ferguson and Urie, glass stainers, Melbourne. The colouring is rich and the general effect striking. In the centre of the window is a large figure of the saviour, with the robes and insignia of royalty, and underneath the inscription “Salvator Mundi”. At the top is the agony in Gethsemane, and at the foot the Lord’s Supper. The other lights represent scenes in which St. Peter had part. On the left hand, at the top, is the calling of St. Peter and St. Andrew; and under it, the Transfiguration and the storm on the Lake of Gennesaret. On the right hand, at the top, is represented Christ walking on the water and rescuing St. Peter from the waves; below this is the Crucifixion, and then, under, the delivery of the keys to St. Peter. Along the foot of the window is the inscription:-“Presented by James Gordon, on St. Peter’s Day 1867, to beautify the House of God, and to commemorate the installation of the Rev. G. H. Moreton as first incumbent of this Church”.

The Sydney Morning Herald, NSW, Tuesday 6th August 1867, page 5.

“…Mr. JAMES GORDON, the minister’s churchwarden, then rose, as the treasurer of the building fund, to make a statement of the moneys received for and expended on the building…”

 “…the chancel window, which cost £182…”

The Sydney Morning Herald, NSW, Saturday 5th July 1902, page 9.

“THE LATE CANON MORETON”

Here passed away shortly before midnight on Thursday the venerable Canon George Harman Moreton, one of the early ministers of the Church of England in this State. The late Canon was born at Highway Wycombe, Buckinghamshire, in 1826, and his early history as a minister was one of indomitable perseverance and zeal. At the age of 17 Mr. Moreton announced to his guardian that he desired to enter the ministry. His intention was thwarted at every turn, and at last the youth left home and walked to London. He presented himself to the London City Mission, but his youth was considered a bar to his engagement. Young Moreton however, asked that he might be allowed to enter for the examinations, and after some time his request was granted. The youth passed the examinations with great credit, and was one of the youngest missionaries accepted. He received an appointment in the eastern mission field, and after his marriage went to Loo Choo, on the island of Lapa, Japan, in 1853. He laboured there three years, and was invalided home after a paralytic seizure. While at Japan, Mr. Moreton received new of British success in the Crimea from a Russian man-of-war. Mr. Moreton was ordained deacon at Trinity Church, Shanghai, by the first Bishop of Victoria, on October 9, 1853, and raised to the priesthood at the Chapel Royal, Whitehall, by Bishop Tait, of London, on December 20, 1857. He became curate of Pertenhall, Ely, in 1857, and in that year received an invitation from Bishop Barker to visit Australia. The long voyage of six months to Australia restored the young clergyman’s health, and Sydney was reached in 1858. Mr. Moreton preached in St. Philip’s Church the evening after he landed in Sydney, and was then appointed curate at St. James’ under Canon Allwood. This position he held till 1867 when he was asked by the late Mr. Charles Kemp to start a Church at Woolloomooloo. Mr. Moreton immediately set to work to found the Church of St. Peter’s, and in a short time the church, schools, and parsonage were built. In 1878 Mr. Moreton was elected a canon of St. Andrew’s Cathedral. The duties of the parish being rather heavy Canon Moreton left St. Peter’s in 1882, and went to St. Like’s, Burwood, which was then vacant. The debt on St. Luke’s was at that time 600, but in a little time this incubus was wiped out and a parsonage was built. With the aid of Miss Fadith [sic?] Walker a parish hall was built and an organ was placed in the church. During Canon Moreton’s incumbency at St. Luke’s two district churches connected with the parish were built. These were St Mary’s, Mortlake, and St. Peter’s Croydon, and they were erected free of debt. In 1897 Canon Moreton resigned his position at St. Luke’s, failing health having weakened his mental vigour. Canon Moreton was a ripe scholar, particularly in Hebrew, Greek, and Latin. On Thursday night the Canon succumbed to an apoplectic seizure at his residence, Holchester, Burwood-street, Burwood. He had been confined to his room for many months. To-day shortly after 1 o’clock a funeral service is to be conducted by the Rev. A. E. Bellingham at St. Luke’s, Burwood, after which the body will be conveyed to Rookwood by rail when the Rev. H. Bryant will conduct the burial service. Mrs. Moreton died in 1896. Mr. P. H. Moreton is the only son of the late canon.”

Related post: 13-08-1867: James Urie visits Tasmania on Ferguson and Urie business

Footnotes:

1916: John Lamb Lyon, Stained Glass Artist, (1835-1916)

John Lamb Lyon (1835-1916) played an instrumental role in the early success of the Melbourne stained glass firm Ferguson & Urie.

Photos courtesy of John Lyon, Western Australia, 13th September 2012. Painting of Elizabeth aboard the ‘Great Britain’ 13th Feb 1872 courtesy of Phil & Lisa, England, 8th Jan 2015.

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Born in Scotland on the 14th February 1836, to James Lyon and Janet Thorburn, he was apprenticed to the Glasgow stained glass firm of David Kier and then John Cairney & Co and later worked with the London firm of Ward & Hughes for a period of six years.

On the 23rd June 1857 John married Jane Clarke who died childless the following year.

On the 3rd of December 1860 he married Elizabeth Gillespie Pearson and less than a week later they departed Liverpool for Australia aboard the ‘Donald McKay’ on the 9th December 1860. On the 12th March 1861 the ship arrived in Port Phillip Heads, Melbourne, but due to an outbreak of smallpox on-board all passengers and crew were detained at the Port Nepean Quarantine station for fourteen days. The run of bad luck continued when a fresh outbreak occurred in quarantine which forced the Governor., Sir Henry Barkly, to extend the quarantine for another fourteen days from the 18th March 1861. They were officially cleared from quarantine on the 5th April 1861.

John and Elizabeth headed to the goldfields town of Maldon in central Victoria where his parents, James and Janet, had earlier set up as storekeepers.

John’s first known Colonial work in stained glass in Australia was recorded in the Argus of 2nd September 1861:

 “…Amongst the contributions which Tarrengower will forward to the forthcoming Exhibition will be a stained-glass window, in the Early English style, the work of Mr. John Lyon, of Maldon…” [1]

The Melbourne Exhibition list of awards published on the 7th December 1861 includes an “Honourable mention” for a “Design for Stained Glass”. In the same category at the exhibition, the firm of Ferguson & Urie also received an honourable mention for “Ornamental glazing”.

 “…In 1861, Mr. Lyon joined the firm of Ferguson and Urie, Melbourne. Their commencement was on a very primitive scale. They made their own colours and acid, and fired the glass in a colonial camp oven. They, however, soon got properly going, and produced good work under the firm name of Ferguson, Urie and Lyon…” [2]

John’s encounter with James Ferguson and James Urie at the 1861 exhibition would have to the catalyst for him joining the firm, but some prior persuasion may have come from the English artist David Relph Drape, who had been enticed to Australia by James Ferguson as early as 1858. Their first attempt to start the stained glass business had failed due to the gold rush labour shortage and Drape coincidentally ended up living at Maldon at the same time as Lyon.

In March 1862 the first article appeared mentioning Lyon being engaged as an artist with Ferguson & Urie.[3] He was then officially the firms first stained glass artist. Drape returned from Maldon to join Ferguson & Urie on the 8th of November 1863.

“…Messrs. Ferguson and Co, have engaged the services of a competent artist in this difficult and useful art. Mr Lyon, to whom we refer, has not long been in the colony, and has had a lengthened experience in his profession at home and judging from the specimens of his talent now to be seen at Messrs. Ferguson and Urie’s, we should suppose that those who require this description of decoration will find no difficulty in future in carrying out their designs…” [4]

At the Melbourne exhibition [5] in late October 1866, the firm was now mentioned as “Ferguson, Urie, and Lyon”, being the earliest indication he was now a partner in the firm. In February 1867 newspaper advertisements for the company began to include Lyon in the company name.

Between 1870 and 1872 the Lyon family returned to the UK, departing aboard the “George Thompson” on Tuesday 15th Mar 1870 for London and returning to Australia aboard the “Great Britain” which departed Liverpool 17th December 1871 and arrived in Hobson’s Bay, Melbourne on 21st February 1872.

During the return voyage to Australia John completed a portrait of his wife Elizabeth dated 13th February 1872. This painting still exists 143 years later and was purchased by a family at Kingston Upon Hull, UK, circa 1985 and they are still the caretakers of this historical piece of art to this day.

During Lyon’s partnership with Ferguson & Urie he had an active part in the design and execution of many of Melbourne’s finest examples of Colonial stained glass work, some notable works include:

Many other examples of stained glass by Ferguson, Urie, and Lyon can be found all over Victoria, Tasmania, South Australia and rare examples in New South Wales, Queensland, and New Zealand.

In 1873, after just over ten years with Ferguson & Urie, Lyon left the partnership and on the 27th of August he sold [8] his house and contents at Dudley Street, North Melbourne in preparation for his move to Sydney. On the 29th of August a notice was published in the Victorian Government Gazette [9] advising of his official dissolution of the partnership with the firm. Lyon then took up partnership with an old friend, and former fellow apprentice, Daniel Cottier, to become “Lyon, Cottier & Co” in Pitt Street Sydney.

During Lyon’s time with Ferguson & Urie he received many accolades and awards for his work and this continued with him at the helm of Lyon, Cottier & Co during which time he traveled overseas on many occasions, visiting New York, Britain and Europe in his quest for the latest trends in the craft.

The Catholic Press, NSW, Thursday 26th November 1908, page 24.

“AN HISTORIC FIRM OF GLASS STAINERS”

“Mr. John Lamb Lyon, the head of the well known firm of Lyon, Cottier and Co., glass stainers and decorators of 179 Liverpool street, city, has just returned from a six months’ trip to Europe, and comes back full of new ideas, which will no doubt be seen later in many of our Catholic churches. Whilst in England he had the pleasure of hearing encomiums of his window in the Franco-British Exhibition, in which the King in his Coronation robes was the leading subject, and for which the firm received a gold medal. Their window in the New Zealand Exhibition secured a similar honour. This could hardly be surprising to Australians who have had the pleasure of viewing their fin artistic works in the Lismore Cathedral, and in so many of the churches of New South Wales. In Braidwood, Tenterfield, Murrumburrah, Newcastle, Waratah, and other towns, Catholic edifices are adorned by some of Lyon and Cottier’s handsome specimens of the stainer’s art, and in the houses of the Governor-General, the State Governor and the Admiral, the tasteful coats of arms stand as evidence of the artistic workmanship of this historic firm, which has been established for over 40 years, and has no fear of being outrivalled by the stainers and decorators of Europe. All the work is executed in Sydney and on the premises at Liverpool-street visitors will find much to delight the eye, whilst the connoisseur will find criticism silenced.”

He continued an active role in Lyon & Cottier until circa 1914 and maintained an interest in his painting until his death.

John Lamb Lyon died at his Balmain home on the 14th of June 1916 and was buried at the Waverley cemetery [10]. He was survived by his wife, three sons and three daughters.

Related posts:

02-09-1861: Tarrengower Victoria. John Lamb Lyon stained glass.

External links:

Australian Dictionary of Biography – John Lamb Lyon

The stained glass in Lyon’s Birchgrove home in Sydney c.1884

Footnotes:

[1] The Argus, Melbourne, Monday 2nd September 1861, page 5.

[2] The Australasian Decorator and Painter, August 1st, 1909.

[3] The Mercury, Hobart, Wednesday 26th March 1862, page 3

[4] The Mercury, Hobart, Wednesday 26th March 1862, page 3.

[6] The Argus, Melbourne, Thursday 22 September 1870, page 6.

[8] The Argus, Melbourne, Wednesday 27th August 1873, page 2.

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

[10] Martha Rutledge, ‘Lyon, John Lamb (1835 – 1916), Australian Dictionary of Biography, Volume 10, Melbourne University Press, 1986, pp 182-183


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19-06-1873: St. Andrew’s Church of England Cathedral, Sydney, New South Wales.

On the 12th and 19th of June 1873, the Sydney tabloids reported that a Ferguson & Urie window had been made for the Sydney Cathedral. The window depicted ‘Faith, Hope & Charity’ and was to be placed in the clerestory of St Andrew’s Church of England Cathedral in Sydney. The window was erected to the memory of Mary Ann Stephen (nee Pasmore), the widow of Judge John Stephen, the first puisne Judge appointed to the Supreme Court in the Colony of New South Wales. The window was subscribed for by her surviving children and was erected in the clerestory of St Andrew’s in 1873, ten years after her death in 1863 at the age of 89.

The memorial text on the window reads: “In memory of Mary Ann Stephen, The widow of John Stephen Esq., First Puisne Judge of this colony, Died in Sydney 1st January 1863, Aged 89 years”.

Photos of St Andrews Church were taken 8th May 2011. Photos of the stained glass window were taken by Ken Burke (via historian Karla Whitmore, 6th May 2013).

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The Argus, Melbourne, Vic, Saturday 7th June 1873, page 5. 

“A stained glass window, which has many elegant features, has been made by Messrs Ferguson and Urie, of Hotham for the Church of England Cathedral of Sydney. The window is to be placed in the clerestory as a memorial of the widow of the late Mr Justice Stephen. The principal figures represented are Faith, Hope, and Charity, with the last in the middle. Hope has her hand upon the anchor, and Faith carries the Bible and the Cross. The tracery of the window shows the lamb, and the pelican feeding its young. The window is most to be admired for the harmony of the colouring and the softness of the tone. A good general effect has been produced. The drapery on the figures has been exceedingly well done, and is somewhat in advance of the expression upon the faces. The letters underneath the figures state that the window is erected in memory of Mary Ann Stephen, widow of John Stephen, puisne Judge, who died in Sydney on the 1st of January, 1863, at the age of eighty-nine years. It is erected by her children. The height of it is 12 feet.”

The Sydney Morning Herald, NSW, Friday 2nd January 1863, page 1.

“On 1st January, at Eveleigh House, the residence of her son-in-law, Mary Anne Stephen, widow of John Stephen Esquire, first judge of this colony, and mother of Sir Alfred Stephen, in her eighty-ninth year.”

Judge John Stephen died on Saturday, 21st December 1833, his wife Mary Ann (nee Pasmore), survived him by a further thirty years.

The Sydney Gazette & New South Wales Advertiser, Tuesday 24th December 1833, page 3.

DIED, At Clairville, on Saturday last, JOHN STEPHEN, Esq., late Judge of the Supreme Court of New South Wales. The funeral of this respected gentleman is intended to be public, and will take place on Thursday next.”

The SydneyMonitor, NSW, Wednesday 25th December 1833, page 2.

THE LATE JUDGE STEPHEN.

Mr Justice Stephen endeared himself to the people of New South Wales, by his unflinching consistent integrity, in irving times.When the public press was assailed, he ever stood up for its independence. His views of the law were in its favour, and he did not shrink from expressing his views, in the worst of times; and when his office depended, in a measure, on his silence. When the Editors were under prosecution, and demanded a common Jury, according to the common law, under the plea, that the Act of Parliament could not set aside the common Law and natural justice, by its not permitting the prosecutor (Darling) to appoint the Jury. Judge Stephen was the only Judge who maintained the inviolability of this axiom of common sense and common justice.”

The Australian, Sydney, NSW, Friday 27th December 1833, page 2.

“Funeral of John Stephen, Esq. Late Judge of the Supreme Court.

The body of the above respected individual was brought ito town, from his country house at Clareville, accompanied by some members of his family, at 1 o’clock yesterday morning, and deposited in St. James’ Church, preparatory to its being interred in the new burying ground. About half past seven o’clock the gentlemen who attended the funderal having previously assembled in the Court House were summoned by the tolling of the bell into St. James’s Church, where the Rev. Mr. Hill read the first portion of the funderal service:- Precisely at eight o’clock the procession began to move in the following order. The Band of the 4th regiment, playing the Masonic March of Burn’s Fare-well. Members of the bar, two and two. A number of Civil Officers, Magistrates, Merchants, and private friends of the deceased followed. The procession was closed by about twenty carriages. The procession moved along George street, followed by a very considerable crowd, the band playing until they reached the burying ground.- On arriving there the Body was taken from the Hearse and carried to the grave by six of the Masonic Brethren, who were desirious of performing this last sad ceremony themselves. The funeral service having been read and the body lowered into the grave, the members of the Masonic Lodges proceeded to perform the ceremonies of their order, in compliance with a wish, expressed by the deceased a short time before his death, of being buried with the honours bestowed upon its members, by an institution to which he had in earlier life been attached. From the church to the grave, the procession was accompanied by a numerous concourse of spectators, who thus testified the respect with which the character of the deceased was held in the public estimation.”

Two and a half months after the reports of this windows creation, Ferguson & Urie stained glass artist and partner, John Lamb Lyon, prepared the final stages for his move to Sydney to start the Lyon & Cottier stained glass firm. On the 27th August 1873 advertisements appear in the Melbourne tabloids for the sale of his Dudley Street cottage and furnishings. On the 29th of August 1873 the Govt Gazette published the official dissolution of his partnership with Ferguson & Urie.

Biography:

John Stephen (1771-1833). (first puisne judge of the Supreme Court of New South Wales).

Sir Alfred Stephen (1802-1894). (son of Judge John Stephen)

Other references:

The Sydney Morning Herald, NSW, Thursday 12th June 1873, page 5.
Queanbeyan Age, NSW, Thursday 19th June 1873, page 4.
The Maitland Mercury & Hunter River General Advertiser, NSW, Thursday 12th June 1873, page 3.
The Sydney Mail and New South Wales Advertiser, Saturday 14th June 1873, page 753.


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07-10-1870: The 1870 Sydney Intercolonial Exhibition.

The Ferguson & Urie Stained Glass company actively participated in exhibitions from as early as 1854. There was minor mention of the company exhibiting stained glass samples at the Sydney Intercolonial Exhibition in 1870.

The Sydney Morning Herald, NSW, Friday 7th October 1870, page 8.

 THE EXHIBITION IN PRINCE ALFRED PARK, SYDNEY.

 THE summary of news by the Avoca contained an account of the ceremony observed on the occasion of the opening of the Metropolitan Intercolonial Exhibition on the 3oth August. This exhibition was called into existence under the auspices of the Agricultural Society of New South Wales, and it has proved a splendid success. It has been to this colony what the Great Exhibition of 1851 was to England – what the Exposition Universelle of Paris was to France in 1862. It has attracted large numbers of people from all parts of New South Wales, and also from other colonies of Australasia…”

 “HIGHLY COMMENDED …”

 “…1471 Samples stained glass, Ferguson, Urie, and Lyon, Melbourne…”

Illustrated Australian News for Home Readers, Melbourne, Monday 10th October 1870, page 174.

“THE INTERCOLONIAL EXHIBITION. No. 1.Last month we announced the opening of the Intercolonial Exhibition at Sydney; we are now able to give full particulars with regard to the character of he various exhibits, especially those sent from Victoria…”

“… Some of the handsomest features of this portion of the building are the stained glass windows of Ferguson, Urie and Lyon, of Curzon-street, of which there are seven, representing Christ’s Charge to Peter, Salvator Mundi, Charge to Peter, Immaculate Conception, and some others filled with heraldic designs…”

As at June 2012, no match or further detail has been found regarding the windows described.

External links:

Sydney Intercolonial Exhibition 1870


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22-09-1870: The 1870 Sydney Intercolonial Exhibition.

At the 1870 Sydney Intercolonial Exhibition, Ferguson & Urie were recommended for a bronze medal for their samples of stained glass, but the judges inquire as to some authenticity that the work was actually crafted in the Victorian Colony.

The Argus, Melbourne, Thursday 22 September 1870, page 6.

 “… Messrs. Ferguson, Urie, and Lyon have been recommended for a bronze medal for their very beautiful samples of stained glass. But there are two Sydney competitors in the same line, and the judges have intimated a wish that some sort of certificate had been forwarded guaranteeing that the alleged Victorian work was really done in Victoria. They have instituted a very close inquiry to ascertain whether the Sydney exhibits were really produced in New South Wales, but they have no means of prosecuting similar inquiries about the exhibits from other colonies…”

Evening News, Sydney, NSW, Tuesday 27th September 1870, page 4.

Exhibit “1471 Samples stained glass, Ferguson, Urie, and Lyon, Melbourne.”

 

External links:

Example of a Bronze medal at the 1875 exhibition presented to Lyon & Cottier.

03-09-1870: Sydney Intercolonial Exhibition 1870.

Australian Town and Country Journal, NSW, Saturday 3 September 1870, page 11.

 “NON-AGRICULTURAL. SECTION 1 – THE FINE ARTS”.

 “..On the other side, near the principal front, are several painted windows, from Ferguson, Urie, and Lyon, of Melbourne. The first is a coat of arms, the crest being boars’ heads, with the motto “Dulcius ex asperis;” on the other side of the same window is the Royal Arms of England, the lion and the unicorn in a somewhat novel attitude. Between these are small lights representing Christ giving to St. Peter charge of his sheep, and over this the virgin crowned with stars. Further on is a larger light representing the charge to Peter; in this painting the sheep are represented with much art in the foreground and all the eleven apostles appear around and behind the Saviour.”

Note: “Dulcius ex asperis” is the Latin motto for the Scottish Clan Fergusson meaning: “Sweeter after difficulties”. There is also a depiction of the coat of arms with the same motto in an element of the Glenferrie window at the Melbourne Museum.
External links:

12-08-1870: Sydney Intercolonial Exhibition 1870.

The Argus, Melbourne, Friday 12th August 1870, page 4.

“The Dandenong, which sailed yesterday for Sydney, conveyed 60 packages for the Intercolonial Exhibition. The exhibits included specimens of auriferous quartz from Messrs. Latham and Watson; Pianos of local manufacture from Messrs. Wilkie, Kilner, and Co; an interesting mineralogical collection from Professor Abel, of Ballarat; stained glass from Messrs. Fergusson,[sic] Urie, and Lyon; and a large quantity of agricultural implements, beer, spirits, oatmeal, and biscuits. The Victorian commissioners intend to make their last shipment by the City of Adelaide, as they have already exceeded the time allowed them by the Sydney authorities.”

13-08-1867: James Urie visits Tasmania on Ferguson and Urie business.

In August 1867, James Urie of the Melbourne stained glass firm ‘Ferguson & Urie’, traveled to Tasmania with a portfolio of the companies designs for ecclesiastical and secular stained glass. As of May 2013, over twenty-five Tasmanian buildings have been identified as having one or more extant stained glass windows by the firm. The newspaper article below contains a gold mine of clues for Ferguson & Urie windows erected in Tasmania and in Victoria and I have included my comments as to what have found on each clue.

The Mercury, Hobart Tasmania, Tuesday 13th August 1867, page 5.

 “STAINED WINDOWS – A few days since we stated that Mr. Urie of the firm of Ferguson, Urie, and Lyon, glass stainers, &c, Melbourne, was on a professional visit to Hobart Town. This gentleman is now in Launceston, and we were much gratified yesterday by inspecting a large portfolio of designs for church and other windows which his firm has executed or has in hand. Amongst the most elegant we may mention the chancel window of St. George’s Church, Queenscliff, the subject being taken from the Litany, whilst the side lights represent the twelve Apostles and the west window other emblems; chancel window of St. Peter’s, Wooloomooloo (Sydney), embracing nine events in the life of St. Peter; Roman Catholic Church of St. Peter and St. Paul, Geelong; St Joseph’s Roman Catholic Church, Collingwood; St. Patrick’s Church, Duneed; the Melbourne Convent; the Presbyterian Churches at West Melbourne and Ballan; the Wesleyan Churches at Daylesford and Kent Town (S. Australia). They have also erected some very elegant memorial windows including one for the late Prince Consort at Kew; Rev. R. W. Needham, at Mount Gambier; Dr. Peck, at Sale; Judge Pohlman’s wife, and wife of Mr Stoddart both in Melbourne. We have already referred to Dr. Moore’s at New Norfolk, and the two windows in St. John’s, Launceston. One of the most elegant windows is in the house of Mr. George Stevenson, at Toorak; it represents the four seasons with figures of Art, Science, Agriculture, and Commerce, with Faith and Hope, coat of arms, and crest. This window cost £250. This firm also supplied a staircase window for the new mansion of the Hon. R. Q. Kermode at Mona Vale, but it has been decided to substitute one much more elaborate. They are also to fit up two windows for the new Wesleyan Church of this town – one at either end, which will be very handsome. Several private homes in this town, and a large number in Victoria, have been ornamented in this way, and no doubt the practice will extend when it is known how skilfully the art is carried out by Messrs. Ferguson & Co.”

Notes:

1. Queenscliff, Victoria, St Georges, All windows extant.
Related posts: 22-02-186429-01-1866 > 12-02-1881 07-04-188230-12-1893

2. Wooloomooloo, Sydney, NSW, St Peter’s (Darlinghurst), now part of Sydney Church of England Girls Grammar School.
Related posts: 1867: St Peter’s Anglican Church, Woolloomooloo, Sydney, New South Wales.

3. Geelong, Victoria, St Peter & Paul Catholic. Three light principal east window.
Related post: 13-08-1867: St Peter & St Paul, Geelong, Victoria.

4. Collingwood, Melbourne, Roman Catholic (St Joseph’s) destroyed by fire in 2007.
See: 1863: St Joseph’s Catholic Church, Collingwood, Victoria.

5. Duneed, Victoria, St Patrick’s (Mt Moriac) foundation laid in 1858. Ferguson & Urie east window erected in 1866 but was destroyed my a massive hail storm in 1887. The church was rebuilt in 1950’s and sold at auction in February 2017..

6. Melbourne, Victoria, the “Melbourne Convent”. This is likely to be the “Convent of Our Immaculate Lady of Mercy” in Nicholson street Fitzroy. My correspondence with the Convent has revealed nothing.

7. West Melbourne, Presbyterian. Dismantled in 1935 and re-erected as St Andrews at Box Hill in 1936. It contains the original F&U windows except for one which went to the Camberwell Church on Riversdale Road.
Related posts: 27-04-1935

8. Ballan, Victoria, Presbyterian (St Paul’s). All windows are extant.
Related posts: > 22-07-1866 > 28-07-1866 > 13-08-1867

9. Daylesford, Victoria, Wesleyan. Only small ‘stock’ windows in the porch exist in poor condition. See photos <here>

10. Kent Town, South Australia, Wesleyan. Nothing further known.
Related posts: 26-10-1864

11. Kew, Melbourne. The Prince Consort window at Holy Trinity is extant and recently restored.
Related posts: 08-06-1881

12. Mount Gambier, Christ Church, Rev Needham memorial window and others are extant.
Related posts: 02-11-1867

13. Sale, Victoria, St Paul’s Anglican Cathedral. Dr. Peck memorial window is extant.
Related post: 29-01-1867

14. Melbourne, Pohlman and Stoddart memorial windows.
Nothing found in regards to the Pohlman window but the Stoddart window exists.
Related post: South Yarra Presbyterian 1867

Pohlman:

Judge Robert Williams Pohlman (1811-1877): Biography | Obit 1877 | Funeral | Obit 1878 His funeral was in St Stephen’s in Richmond and he was buried in the Melbourne General Cemetery on the 8th Dec 1877. He was married twice. His second wife, Mercy Clifton Bachelor died of an embolism at age 26 on the 21st January 1876 only a couple of weeks after giving birth to a stillborn daughter on the 5th of January 1876. He only had one daughter to his second wife named Annie who married Navy Commander Frederick Owen Pike at St John’s in Toorak on the 27th December 1893.

This would mean that the stained glass window would have been a memorial to his first wife “Eliza” who died at Richmond on the 11th Feb 1856.

Stoddart/Stodart:

This is James Dickson Stodart (c1825-1867), Mayor of Prahran 1864/65 and councilor 1858/59-1859/60, 1863/64-1864/65.

Arrived from Edinburgh in 1853. Was later a financial agent for Cornish & Bruce railway contractors. See: Yarra Presbyterian 1867

An active member of the Scotch Presbyterian Church in Punt Road South Yarra, where his memorial stained glass window resides.

He died on Wednesday 12th June 1867. The window has been found at the South Yarra Presbyterian Church See: http://wp.me/p28nLD-2I3.

15. New Norfolk, Tasmania, St Matthew’s, Dr. Moore memorial window is extant.
Related posts: 04-03-1882

16. Launceston, St John’s: The window is extant but no longer in its original position. The canopy glass above the main three lights no longer exists but an original design for the window shows that it contained the descending Dove and the symbols for Alpha and Omega.
Full details see  post: 25-09-1866

17. George Stevenson’s house at Toorak was named “Trawalla” and is located at 22 Lascelles Avenue Toorak. Window is extant.

18. Ross, Tasmania, Kermode’s Mona Vale Mansion. This window still exists. Images are shown in various historical books written in the last 30 years.

19. Launceston, Wesleyan, (Pilgrims Uniting), window facing Patterson street is extant but nothing seen in the opposite end. Gavin Merrington from Hobart has confirmed that a wheel window exists above the organ loft.

Also see: 07-08-1867: Decorative Art. James Urie sojourning in Tasmania.

Other related posts: 03-03-1868 , 29-01-1866, 20-06-1867, 29-04-1864,


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