1936: Our Lady of Mount Carmel, Middle Park, Victoria.

Artist/Studio: Brooks, Robinson & Co, Melbourne, c.1936.
Location: Middle Park, Victoria.
Building: Our Lady of Mount Carmel Catholic Church.
Memorial: Mrs. Delia Agnes Waldron.
Donor: Mr. John Patrick Waldron and family.
Photos dated: 8^th March 2015.

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Delia Agnes Waldron (nee McLaughlin) was born in Ireland c.1870, the daughter of Edward McLaughlin and Margaret Eaton. She married John Patrick Waldron in 1899 at Middle Park in Victoria and they raised a family of nine. Delia died at the family home ‘Mayo,’ 20 Harold Street Middle Park on the 10^th March 1934, aged 64 and was buried at the Melbourne General Cemetery. Two years after Delia’s death her husband John commissioned the Brooks, Robinson & Co., stained glass company of North Melbourne to create her memorial window for Our Lady of Mount Carmel church at Middle Park.

John Patrick Waldron, was the son of Patrick Waldron and Bridget Robinson, he was born in Ireland c. 1862 and died at Middle Park on the 8^th January 1940, aged 78 and was interred with Delia at the Melbourne General Cemetery.

Advocate, Melbourne, Vic, Thursday 26th March 1936, page 12.

“A BEAUTIFUL MEMORIAL

Striking Stained Glass Window at Middle Park.

A BEAUTIFUL stained glass window has been erectde in the Church of Our Lady of Mount Carmel, Middle Park. The gift of Mr.J. P. Waldron in memory of his wife, who passed to her eternal reward two years ago this month, it depicts St. Patrick in the traditional act of banishing the snakes from Ireland. It bears this inscription: “Presented in memory of Mrs. Waldron, who died on March 10, 1934. R.I.P. The gift of J. P. Waldron and family”.
The background of the window is a piece of beautiful Irish scenery, with Celtic cross, and with ancient buildings here and there amongst the rugged mountains. The figure of St. Patrick, treated as an Archbishop, mitred and vested in rich tones of green, ruby, etc., stands in a commanding position, with a very forceful expression.
It is the work of Brooks, Robinson. To-day, the stained glass studios are presided over by trained experts from the old world, but in Australia a school typical of this branch of art is coming into being. Sincerity of feeling and purity of taste are the keynotes of this development.
In making a stained glass window, the first step is a small, coloured sketch of the picture subject required – from this the order is placed. A large charcoal drawing is then prepared and all the composition and details are decided upon. This is done from the artist’s work in the same way as when preparing to paint a picture, but thenceforth the art of the stained glass worker predominates.
A tracing is made of the chief outline of this large drawing on a very tough paper; no attempt at shading, just a network of lines. These lines represent the lead which will afterwards hold the glass together. Nothing has been found to take place of lead for this purpose, after all these hundreds of years, and it is an arrangement where the artist, if trained in the stained glass world, shows his great skill, as, if these lines are carefully thought out, it will be found to greatly assist the effect of the finished window.
To this line drawing or “cut line,” as it is called in the business, the colours are then carefully selected by the artist to correspond with the small sketch. On these being completed, the glass is then handed to the glass-cutter, who carefully shapes each piece to the lines shown. Next comes the glass painter, a man of genius and experience, who proceeds to copy the picture on the glass, faithfully producing lines and shading, which are, of course, all in different colours, for here it must be remembered that the glass is already coloured in rubies, blues, purples, etc., before commencing work. The glass painter only adds the shading pigments. These pigments consist of highly fusable glass, which has been incorporated with a considerable portion of metallic oxide. The pigments are mixed with either sugar or oil of turpentine, which has been allowed to stand in the open and thicken, so that it will flow nicely and be quite easy to work. The glass is then fired to completely melt the pigments, but only sufficient to soften the glass and open the pores, as it were. This firing is done in a kiln fired to the correct heat, and then allowed to cool slowly. When this work is completed, then comes the mechanical work, which requires a great amount of skill and experience. The paper pattern is laid on a table, which is the cut-line before mentioned, and the whole window, bit by bit, is placed in position by the artist-artisan and the soft bars of lead carefully worked around each piece, and so the window is built. This part of he work is known as glazing. It is soldered only on one side to allow of its being held up to the light for careful inspection of the work for harmony of colour, etc. The master artist then gives the final seal of his approval. The window is then shipped to Tasmania, or railed to other places, and is a delight and inspiration from generation to generation.
Brooks, Robinson’s studios do not confine their activities to stained glass, but undertake opus sectile mosaic and other ecclesiastical decorations.”

The Argus, Melbourne, Vic, Tuesday 13th March 1934, page 1.

“WALDRON.- On the 10th March, at her residence, Mayo, Harold street, Middle Park, Delia Agnes, dearly beloved wife of John Patrick, loving mother of Nora, Edward, John, Joseph, Molly, Anthony (deceased), Leo, Rita, and Delia, aged 64 years. – R.I.P. (Interred privately, Meelbourne General Cemetery, 12th March.)

1914: St Stephen’s Anglican Church, Lower Sandy Bay, Tasmania.

Artist/Studio: Brooks, Robinson & Co, Melbourne, c.1914.
Location: Lower Sandy Bay, Tasmania, Australia.
Building: St Stephen’s, Lower Sandy Bay.
Memorial: George Patten Adams. Died 22nd June 1913.
Conservation: Gavin Merrington, ‘Original Stained Glass’, South Hobart, 2012.
Photos dated: July 2012.

Unfortunately the natural lighting for the time of day the photos were taken has accentuated the outer wire protection mesh through the glass.

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The Mercury, Hobart, Tasmania, Monday 25th January 1915, page 3.

“At the morning service in St. Stephen’s Anglican Church, Lower Sandy Bay, a memorial window to the late Mr. G. Patten Adams, who, with the late Mrs. Patten Adams, was identified with the church from the time of its erection, was dedicated. Mr. Patten Adams had been churchwarden for very many years. The window is of stained glass, beautifully coloured, the subject being St. Augustine of Hippo, one of the early missionary bishops of the church. The cost of the window was subscribed for by residents and friends, and was supplied by Messrs. Brooks, Robinson and Co., of Melbourne, and fixed by Messrs. Valentine and Creese. The dedication service was conducted by the Ven. Archdeacon Whittington, who preached from the words, “In Thy light shall we see light” (Psalm 1vi.9). A similar window had been previously subscribed and erected in memory of the late Mrs. Patten Adams. It may be added that a brass tablet has recently been put up in this church in memory of the late Mr. and Mrs. C. O. Abbot, who were earnest workers in the parish for many years”.

The Mercury, Hobart, Tas, Monday 23rd June 1913, page 1.

“ADAMS.- On June 22, 1913, at his residence, Beaufront, Lower Sandy Bay, George Patten Adams, in his 80th year. Funeral will take place on Tuesday, the 24th inst., leaving Beaufront at 2 p.m., and arriving at Cornellian Bay Cemetery at 3.15.”

Note:

George Patten Adams (1833-1913) was Registrar and Collector of Stamp Duties for the Supreme Court Tasmania. He married Elizabeth Alice Dobson (1843-1906) at St. John’s Church Hobart on the 5^th September 1868.

A window was later erected to the memory of his wife Elizabeth in 1906 and was made by stained glass artist Auguste Fischer. Conservation on this window was done by Gavin Merrington in 2012.

29-08-1914: All Saints Anglican Church, St Kilda, Victoria.

Artist/Studio: Unknown Studio, England.
Location: St Kilda, Victoria, Australia.
Building: All Saints’, St Kilda.
Memorial: Annie Lange, 1839-1912.
Donors: L.H. & A.F. Lange
Photos taken: 3rd April 2011.

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The Australasian, Melbourne, Vic, Saturday 29th August 1914, page 55.

“MEMORIAL WINDOW.

A memorial window to the late Mrs. F. C. Lange was unveiled in All Saints’ Church, St. Kilda, on Wednesday, August 5, at a special choral service, attended by her friends. His Grace the Archbishop of Melbourne, assisted by the vicar, officiated. The stained glass, which occupies the whole of the main west window, had been executed in England to the order of Miss and Mr. Lange (youngest daughter and son) and is an approximate copy of a famous picture. The late Mrs. Lange’s association with All Saints’ Church as a parishioner extended over a period of 45 years, and members of the older generation will remember her residing at Herford, Alma road, built by her husband, the late Mr. F. C. Lange, in 1871. On Sunday, August 9, at morning service, the Rev. J. W. Ashton, M.A., vicar of All Saints’, handed over the window, which had already been dedicated, to the church authorities, saying a few appropriate words referring to the late Mrs. Lange during the course of his sermon. Those present at the special service were Miss Lange and Mr. A. F. Lange, Mrs. S. C. Browne, Miss Mack (Warrnambool), Mrs. H. P. Matthews, Mrs. and Miss Mather, Mrs. McLean, Mrs. F. E. Strangward, Mdlle. [sic] Maillard, Signorina Coy, Messrs. W. Stawell and R. Thwaites, Mrs. and Miss Hodgson, Mrs. and Miss Drane, Mrs. H. Drane, Mrs. Coutie, and several members of the vestry. The window bears the inscription . “In loving memory of Annie Lange, 1839-1912. erected by her children, L H.L. and A.F.L.,” and was placed in position by Messrs. Brook, Robinson, and Co.”

Note: Specified as only erected in position by Brooks, Robinson & Co, Melbourne.

1884: St Martin’s Anglican Church, Hawkesburn, Victoria.

Artist/Studio: William Edward Burton of Brooks Robinson & Co. Designed by Chester Earles and the church architect Edmund George Ovey, 1884.
Location: Hawkesburn-South Yarra, Victoria, Australia.
Building: St Martin’s Anglican Church, Hawkesburn.
Memorial: First vicar of St Martin’s, Rev. W. K. Brodribb.
Donor: Mrs Brodribb.
Photos dated: 25th March 2012.

The liturgical east three light window at St Martin’s was unveiled at Easter in 1884 at a cost of £230. The instigation for the window came from the minister of St Martin’s, the Rev William Kennedy Brodribb (1847-1896) and was donated by Mrs Brodribb. It’s design and execution was a collaboration of three people, being;

Chester Earles (1821-1905), who was at that time the president of the Victorian Society of Arts. He produced the cartoons for the window which were exhibited in a marquee on the grounds of St Martin’s on the 6th Sept 1883, the day the foundation stone was laid.

Edmund George Ovey (1850-1936), the architect of the church and “Ornamentist”, and;

William Edward Burton” (c.1847- 9 Aug 1916), who at that time was principal stained glass artist at the Brooks, Robinson & Co, Melbourne and the window was also executed at the company’s Melbourne premises.

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The Telegraph, Vic, Saturday 17^th May 1884, page 5.

“S. MARTIN’S CHURCH HAWKESBURN”

“In a recent issue of this journal we stated we would give a description of the very handsome stained-glass window which has been inserted in the large eastern opening of S. Martin’s Church, Hawkesburn, and which is one of the largest stained-glass windows in the colony. The description of the window is as follows:- The height is 15 feet 3 inches and width 10 feet, and the stone mullions and tracery are executed in the early English style of Gothic architecture. It is formed in three windows. The centre one contains the figures of our Lord on the Cross and The Virgin and S. John; the northern light shows S. Martin as a Roman soldier, who was Bishop of Touro, in France, during the fourth century (after whom the Church is named), S. Eanswith, an Anglo-saxon princess and abbess daughter of Eadbald, King of Kent, seventh century; and S. Augustine the first Archbishop of Canterbury, sixth century; the southern light portrays S. Stephen, the first Christian martyre, thirteenth century; S. Louis, King of France, who died as a crusader in the Holy wars, he is represented as a pilgrim; and S. Alphege, Archbishop of Canterbury, martyred by the Danes during the twelfth century. The base contains the seven emblems of martyrdom, and in the tracery is the descending dove in a cloud of light. The background shows the sky, stars, and ministering angels; whilst the background of the central opening indicates the glory of the Saviour. The whole window forms an allegorical picture of the different periods of the Christian Church, and is a conception by the Rev. W. K. Brodribb, the vicar of S. Martin’s. That this window is really a work of art of no ordinary calibre will be undertood when we mention that it has been the joint work of three recognised artists, viz., Mr Chester Earles, president of the Victorian Society of Arts; Mr Burton, principal artist to the firm of Brooks, Robinson and Co; and our well known citizen, Mr E. G. Ovey, architect and ornamentist. The whole is indeed a masterpiece, and reflects great credit on the gentlemen to whom its erection and design was entrusted. It is well worthy of inspection, having been manufactured in Melbourne. The cost has been £230, and the window has been presented to the church by Mrs Brodribb, of Sydney. On the south wall is a brass tablet, suitably engraved, with this inscription:- “In thankfulness to God for many mercies received, the east window of this Church was erected by an attached relative of the first vicar of S. Martin’s, Easter, 1884.”

The Church of England Messenger and Ecclesiastical Gazette for the Diocese of Melbourne and Ballarat, Vic, Thursday 11th October 1883, page 4.

“SOUTH YARRA.- The ceremony of laying the foundation-stone of St. Martin’s Church, near the Hawksburn railway station, was conducted by Sir William J. Clarke and the Dean of Melbourne, assisted by the Rev. Horace Tucker, of Christ Church, on Thursday 6th September, in the presence of a large assemblage. Some disappointment was experienced at the absence of Lady Clarke, who was prevented from attending in consequence of a slight indisposition. Sir William J. Clarke, however, discharged the responsibility of declaring the stone well and truly laid in a satisfactory manner. The building is designed to seat 1200 people, and is to be in the early English Gothic Style, carried out in dark brick with Waurn Ponds stone dressings, and will, when completed, cost £12,000. The proposed church comprises knave, transepts, chancel, and aisles, clergy and choir vestries, organ space, and committee-room; the school rooms are arranged at the rear. There is also to be a handsome tower and spire about 145 feet high. The present contract is for the chancel, which is 50 feet by 32 feet, and will, with the main chancel window, presented by Mrs. Brodribb, and fittings, cost about £1500. The drawing for the stained-glass window, which will cost £200, has been made by Mr. Chester Earles, artist. A parsonage is to be built in connection with the church, and the contract for the work, which will cost about £1800, has been let. The promoters of the movement expect to be sufficiently advanced with the work to allow of the church being opened for public worship about November next. After the laying of the stone, short addresses were delivered by the Dean of Melbourne and by Sir William J. Clarke, who made a donation of £20 to the church. The following is a copy of the scroll placed in the casket:- “St. Martin’s Church of England, Hawkesburn. The foundation stone of this Church, dedicated to the glory of God in the name of St. Martin, was laid by Lady Clarke, of Rupertswood, Sunbury, on the 6th day of September, in the year of Our Lord 1883. Incumbent, the Rev. Horace Tucker; incumbent designate, Rev. W. K. Brodribb; hon. trustees, J. M. Symonds and T. B. Muntz, C.E.; treasurer, J. W. Tod; hon. secretary, C. P. Willan; committee, J. W. Tod, H. Jeffreson, E. Philpot, J. T. Macartney, E. G. Ovey, J. H. Bird, W. C. Meade, C. J. Lucas, J. Davidson; bishop, the right Rev. J. Moorehouse. Edmund Geo. Ovey, architect. Francis Wilson Beaver, builder. Victoria Regina.” The proceedings then terminated with a prayer.”

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01-02-1908: Holy Trinity Anglican, Balaclava, Victoria.

Artist/Studio: Brooks, Robinson, Melbourne, Victoria.
Location: Balaclava, Victoria, Australia.
Building: Holy Trinity, Elwood & Balaclava.
Memorial: Edmund & Emily Ashley.
Photos dated: 7th Jan 2013.

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Malvern Standard, Vic, Saturday 1st February 1908, page 2.

“A beautiful stained glass memorial window, recently erected in Holy Trinity Church, Balaclava, to the memory of the late Edmund and Emily Ashley, was unveiled on Sunday last at the morning service, which was taken by the vicar, the Rev. F. G. Masters, the preacher being the Rev. Canon Sutton, former vicar of the parish. The two light window is of the Gothic style, and the subject chosen is the appearance of the risen Christ to Mary Magdalene (John xx., 17). The figures are designed in the foreground in rich colors of the finest antique glasses, enriched with diapers and golden stains, while in the background is depicted the tomb. On a scroll immediately below the figures is written the text, “I ascend unto My Father and your Father.” At the base of the window is designed a tablet with the inscription, “In loving memory of Edmund Ashley, died 7th December, 1892, and Emily Ashley, his wife, died 14th July, 1906.” The work was designed and executed by Messrs Brooks, Robinson and Co. Ltd., Melbourne.”

The Argus, Melbourne, Vic, Wednesday 7th December 1892, page 6.

DEATH OF MR. EDMUND ASHLEY.

“Another very old colonist has passed away in Mr. Edmund Ashley, who died last night at his residence, Chesterfield, Tennyson street, St. Kilda. The deceased gentleman had been in very indifferent health for some time past, but was well enough on Saturday last to enjoy a drive. On Sunday, however, while the family were absent at church, Mr. Ashley was seized with an apoplectic fit, unconsciousness supervening. From the period of his seizure he remained unconscious until his death. The deceased was born at the village of Tupton, near Chesterfield, Derbyshire, on 7th June 1818. In Chesterfield he acquired a knowledge of his trade as an agricultural implement maker. Having served his apprenticeship, he determined to try his fortune in these colonies, and arrived in Melbourne by the Himalaya on February 26, 1842. Mr. Ashley’s first engagement was with the firm of Messrs. Robert Langlands and Thomas Fulton, engineers, with which firm he remained until the partnership was dissolved in 1846. He then joined the firm of Fulton, Smith, and Annand, with whom he remained until 1851. In the following year the deceased entered into partnership with Mr. Richard Heales as importers of coach materials and general merchandise. He erected the first building north of Franklin-street, where the firm conducted their business. The firm subsequently bought the Ferntree Gully sawmills, which led to the opening up of Ferntree Gully as a popular holiday resort. Having dissolved partnership in 1862 Mr. Ashley paid a second visit to the old country, and on returning to the colony he continued his business as importer of coachbuilders’ material, and also engaged in farming pursuits at Scoresby. He was identified with the management of the Melbourne Benevolent Asylum ever since it’s foundation, and always evinced a most kindly interest in the welfare of that institution as well as in other philanthropic projects. The deceased gentleman leaves a widow and eight children – seven sons and one daughter. The last-mentioned was married to Dr. J. B. Backhouse, of Brighton, some two years ago. During his illness the deceased was attended by Drs. Backhouse and Rankin.

The Argus, Melbourne, Friday 9th December 1892, page 1.

“ASHLEY.- The Friends of the late Mr. EDMUND ASHLEY, J.P., are informed that his remains will be interred in the St. Kilda Cemetery. The funeral is appointed  to move from his late residence, Chesterfield, Tennyson-street, South St. Kilda, THIS DAY (Friday, the 9th inst.), at 3 o’clock. ALF. AUG. SLEIGHT, Undertaker, 182 Collins-street; High-street, St. Kilda; Chapel-street, South Yarra; and Burwood-road, Hawthorn”.

[St. Kilda Cemetery, Edmund Ashley. OTHER DENOMINATIONS, MONUMENTAL, COMPARTMENT C GRAVE 211]

Camperdown Chronicle, Vic, Tuesday 10th January 1893, page 2.

“The will of Edmund Ashley, late of Chesterfield Villa, Tennyson-street St. Kilda and a prominent member of the Melbourne Benevolent Asylum, has been lodged for probate. Deceased died on the 7th December, 1892, leaving a will dated the 19th October, 1888. The value of the estate is reality £53,000′ personality, £8000; total £61,000, and it is all left to the widow and children of the deceased”.

18-07-1936: St Andrew’s Presbyterian, Williamstown, Victoria.

Artist/Studio: Brook, Robinson & Co, Melbourne, Australia, c. 1936.
Location: Williamstown, Victoria, Australia.
Building: St Andrew’s, Cecil Street.
Memorial: Miss K. Paxton.
Photos dated: 2011.

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Williamstown Chronicle, Vic, Saturday 18^th July 1936, page 1.

“MEMORIAL WINDOW DEDICATED”

“Last Sunday morning, there was a crowded congregation at St. Andrew’s Presbyterian Church, Cecil street, when a fine memorial window, presented by the three sisters of he late Miss K. Paxton, was dedicated by the Rev. James Walker. The window, which is a representation of Dorcas, the Biblical character, and her work, was executed by Brooks Robinson and Co., and is situated on the east side fronting Cecil street. Special singing suitable for the occasion was rendered by the choir. Another noticeable addition is the carpeting of the floor of the church, the cost of which was subscribed by voluntary offerings, and for which Mr. Hutchinson was the organiser.

Note: Dorcas is also known as ‘Tabitha’.

03-10-1902: St Stephen’s Church, Portland, Victoria, Australia.

Artist/Studio: Brooks, Robinson & Co, Victoria, c. 1902.
Location: Portland, Victoria, Australia.
Building: St Stephen’s Church.
Memorial: William Corney, died 27 Jan 1898.
Photos dated: 8th January 2011.

Note: Only the centre light is by Brooks, Robinson & Co c. 1902 as mentioned in the article below. The two outer lights are by John Orval signed and dated 1964.

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Portland Guardian, Victoria, Friday 3rd October 1902, page 2.

“ST. STEPHEN’S CHURCH has just had added to it one more record of services rendered it, as Messrs Brooks, Robinson and Co. have just placed in the centre of the North window a well-designed and faultlessly executed stained glass window to the memory of the late Mr William Corney, of South Portland. The order was from Mr. Robert Corney, of Tulse Hill, Coleraine, son of the deceased gentleman, and is of Dore’s celebrated pictures representing Christ leaving Pretorium. On the scroll is written “They led them away to crucify Him.” The inscription is as follows:- “To the Glory of God, and in affectionate memory of William Corney, born 1816, landed at Portland 1840. Trustee of this church, Died January 27, 1898.”

12-05-1906: Immaculate Conception, Hawthorn, Victoria, Australia.

Artist/Studio: Brooks, Robinson & Co, Melbourne, c.1906.
Location: Hawthorn, Melbourne, Victoria, Australia.
Building: Immaculate Conception Church, 345 Burwood Rd.
Memorial: William Grace.
Photos dated: 13th March 2011.

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The Argus, Melbourne, Saturday 12^th May 1906, Page 15.

“A fine piece of stained-glass art has been presented in Memory of the late Mr. William Grace to the Church of the Immaculate Conception, Hawthorn. The window is a three-light, the subject being that of the Annunciation, beautifully designed and executed in rare antique glasses. In the centre light is a richly-draped kneeling figure of the Blessed Virgin, with the Angel Gabriel in warm and mellow whites. With outspread wings of a beautiful golden hue. In the sidelights are angels in more subdued tints. There is written on a tablet at the base of the window, “Erected to the memory of William Grace.” The subject is framed in carefully-designed architectural canopy, and the base is executed in silvery whites richly stained. The three lights measure bout 13ft. high by 22ft. wide. The work was executed entirely in Australia, at the studios of Messrs. Brook, Robinson, and Co. Limited, Elizabeth-street, Melbourne”.