Lindesay | NSW Environment & Heritage

Culture and heritage

Heritage

Lindesay

Item details

Name of item: Lindesay
Type of item: Complex / Group
Group/Collection: Residential buildings (private)
Category: Villa
Location: Lat: -33.8674854868 Long: 151.2398508830
Primary address: 1a Carthona Avenue, Darling Point, NSW 2027
Parish: Alexandria
County: Cumberland
Local govt. area: Woollahra
Local Aboriginal Land Council: La Perouse
Property description
Lot/Volume CodeLot/Volume NumberSection NumberPlan/Folio CodePlan/Folio Number
LOT2 DP205005
All addresses
Street AddressSuburb/townLGAParishCountyType
1a Carthona AvenueDarling PointWoollahraAlexandriaCumberlandPrimary Address

Owner/s

Organisation NameOwner CategoryDate Ownership Updated
National Trust of Australia (NSW)Community Group 

Statement of significance:

Lindesay is historically significant as the first major house to be constructed on Darling Point following its subdivision in the 1830s. The subsequent changes to the house and grounds reflect historical events over more than 150 years. Lindesay has important associations with its owners and occupants, many of whom have played a significant part in the history of NSW.

The house is aesthetically significant as the earliest example of the domestic Gothick style in Sydney, and contains a distinctive set of reception rooms with notable early features including a Louis XIV chimneypiece. The collection of movable heritage and furnishings at Lindesay, assembled by the National Trust of Australia (NSW), includes some items with direct association to former occupants, and some important pieces of Australian colonial furniture. Lindesay established a benchmark in 1963 for the restoration and use of a furnished historic house to recreate and interpret the past. Areas which retain high archaeological potential have been identified in some of the upstairs rooms in the main house and also in the rear courtyard at the south of the main building, in addition to those already excavated. It is likely that additional surviving archaeological material present at this site would be able to contribute evidence not available from other sources, which, when analysed in conjunction with documentary evidence, will provide additional information about the occupation of Lindesay. (Orwell & Peter Phillips Architects, 2004, 136 (summary statement of significance only - for full statement see that document).

The principal cultural significance of Lindesay is that:
- it is Australia's first picturesque Gothic villa of the type advocated by contemporary English taste in the 1820s;
- the drawing room chimney piece is probably the earliest surviving example of Louis Revival style in Australian domestic architecture;
- it was the first house to be built on Darling Point after the subdivision of Darling Point into suburban allotments in 1833 and is associated with people prominent in Australia's history, viz C.D.Riddell, Sir Thomas Mitchell, Sir Charles Nicholson, Bt., William Bradley and John Macintosh;

The place is also significant because:
- it is a good example of the pattern book design method of the pre-Victorian period and possibly the oldest suburban villa architectural type surviving in NSW;
- it is reasonably intact and contains numerous features and details which demonstrate the architectural taste and social customs of the time it was built;
- it contains one of the finest suites of reception rooms in Australia, arranged in what at the time was an informal and novel way;
- it is one of the few surviving houses that were landmarks around Sydney Harbour in the 1830s and 1840s that can still be viewed from the harbour;
- it contains for Sydney a rare example of colonial basement kitchen and offices which was still in use up until c.1914;

Apart from its historic associations particularly relating to the sun dial and the remaining sections of wall, the garden is only significant as a setting for the important house;

The south wing of the house is only significant as being part of the continuing history of the house and incorporating earlier work.
Date significance updated: 22 May 07
Note: The State Heritage Inventory provides information about heritage items listed by local and State government agencies. The State Heritage Inventory is continually being updated by local and State agencies as new information becomes available. Read the OEH copyright and disclaimer.

Description

Designer/Maker: James Chadley and Edward Hallen (attributed); Francis Clarke; Robertson & Marks (service wing)
Construction years: 1834-1836
Physical description: Northern garden:
Lindesay's northern garden is much reduced from its original lands, with subdivisions and encroachment from Canonbury (dem.), itself now the core of adjacent McKell Park. That park's existence as open space means some of the original harbour vista of Lindesay to the water to its north remains open space and a direct, albeit narrow, line of view exists between house terrace (now marquee), garden and harbour.

A pair of lineal borders flanks this northern garden and softens the visual impacts of neighbouring houses. These borders are richly planted by the National Trust of Australia Lindesay Garden Group. Plantings include ornamental banana (Musa sp.), Dombeya wallichii (pale pink hibiscus relative)

A large mature hoop pine (Araucaria cunninghamii) is visually dominant and growing close to the house's immediate north-eastern corner. This tree is at least early 20th century, perhaps older (Stuart Read, pers.comm., 5/2017).

The house's front entrance faces west towards Darling Point Road. In this eastern garden, a large plane tree dominates along with a circular carriage drive. A set of pedestrian gates faces a small lane off the road. Vehicular and stable entry for Lindesay is to the south of this space, forming a 'rear yard' rather than a garden, onto another lane (ibid, 5/2017).

Eastern garden:
1960s Jocelyn Brown designed a plan for the entrance garden at Lindesay. An existing plane tree (Platanus orientalis) in the centre of the space dictated the shape of the plan. Sawn stone edging was suggested for the garden beds, in keeping with the stone of the kitchen courtyard of the house, and the drive was finished with brick gutters. This entrance, with minor changes in planting detail, has developed into an impressive shaded forecourt to the building, a leafy canopy enriched with darker greens around the periphery (Proudfoot, 1989).

The Trust recreated a garden setting reminiscent of early designs. The garden plan focussed on the harbour view. This was framed by trees and plantings tall enough to obscure adjacent buildings, and remains today, adding a wonderful dimension to the rich colour and form of the grounds - a direct link between the property today, and as it was in the days of its first occupants.

In the 1960s Jocelyn Brown designed a plan for the entrance garden at Lindesay. An existing plane tree (Platanus orientalis) in the centre of the space dictated the shape of the plan. Sawn stone edging was suggested for the garden beds, in keeping with the stone of the kitchen courtyard of the house, and the drive was finished with brick gutters. This entrance, with minor changes in planting detail, has developed into an impressive shaded forecourt to the building, a leafy canopy enriched with darker greens around the periphery. (Proudfoot, 1989)

To the east of the house where the grounds are walled, a formal courtyard (parterre) garden was planted, laid out to designs by Guy Lovell. This remains today (2003), a geometric arrangement of gravel paths and low box (Buxus sempervirens) hedges define flower beds planted with ivy (Hedera sp.). This parterre is encolsed with a high, clipped privet hedge (Ligustrum sp.), and presided over by "the Four Seasons", a fine set of 19th century, Italian female figure sculptures of Serena stone.
Modifications and dates: c.1935 (pre WW2) Walter Pye built a gazebo between the present parterre garden and the main garden to enable his mother to take tea out of the wind.

1964-71 restoration by the National Trust.

1964 Lindesay Management Committee established. Fundraising commenced through exhibitions, antique fairs etc. Dame Helen Blaxland chaired the committee from its inauguration until 1976, then continuing her involvement as "Hon Housekeeper". The Womens' Committee of the National Trust (NSW) continue to run events including an annual antiques/decorating fair and private home visits to fund raise for the maintenance of Lindesay.

Guy Lovell was Honorary Architect for the National Trust, charged with restoring the property.

1960s Jocelyn Brown designed a plan for the entrance garden at Lindesay. An existing plane tree (Platanus orientalis) in the centre of the space dictated the shape of the plan. Sawn stone edging was suggested for the garden beds, in keeping with the stone of the kitchen courtyard of the house, and the drive was finished with brick gutters. This entrance has since had minor changes in planting detail. (Proudfoot, 1989)

1966 Lindesay Garden Group established to recreate a garden setting reminiscent of early designs. Diana Pockley was appointed chair. The garden plan focussed on the harbour view. This was framed by trees and plantings tall enough to obscure adjacent buildings, and remains today, adding a wonderful dimension to the rich colour and form of the grounds - a direct link between the property today, and as it was in the days of its first occupants.

Lindesay's boundaries were planted to screen unsympathetic adjoining development, while retaining single remaining vista north to harbour. Two telegraph poles and wires obscuring this view were removed. Two large cast iron urns were moved to the edge of the garden (northern edge), to frame the harbour view and create an illusion of steps descending to the next level of the garden (as it once would have had), and the harbour beyond. Research in Mitchell library on contemporary plant availability, tastes and letters, to reinstate appropriate plants and garden. An english oak (Quercus robur) was planted (one of the first Trust plantings) as a symbol of home to Caroline Riddell. The next was a hoop pine (Araucaria cunninghamii), popular trees with estate gardens at the time.

A lawn was planted to take the eye down the garden (north) to the vista beyond, and curved planting beds established on both sides, to allow a massed planting of dense shrubs and smaller plants and flowers to create a sense of seclusion from outside. A dense green cover was aimed for, in line with the landscape design of Lancelot 'Capability' Brown in England, popular and influential at that time. Plantings include species rather than cultivars and double forms to be more authentic to what would have been available mid 19th century. Agapanthus, Jacaranda mimosaefolia, Magnolia sp., citrus and olive trees were included, as these would have been collected at ports of call on the way to Australia, and thus available in the colony at the time.

To the east of the house where the grounds are walled, a formal courtyard (parterre) garden was planted (to replace an area "boasting a few half dead hydrangeas"), laid out to designs by Guy Lovell, honorary architect charged with guiding the property's restoration. This remains today (2003), a geometric arrangement of gravel paths and low box (Buxus sempervirens) hedges define flower beds planted with ivy (Hedera sp.). This parterre is encolsed with a high, clipped privet hedge (Ligustrum sp.), and presided over by "the Four Seasons", a fine set of 19th century, Italian female figure sculptures of Serena stone. The funds to enable this work were raised by the Lindesay Garden Group and Lindesay Management Committee, by women including Diana Pockley and Dame Helen Blaxland.

1967 the National Trust reconstituted the Lindesay Garden Group as the National Trust Garden Committee, with Diana Pockley as chair. This Committee's work was broader, including work on replanting the grounds of Experiment Farm cottage, Parramatta, Old Government House, Parramatta and Riversdale, Goulburn.
(Simpson, C., 2003)

The Garden Committee has also raised funds for significant enhancements at Lindesay. One is the stone slab 'floor' for the marquee providing a sheltered venue for weddings and events, north of the house.
Current use: house museum, offices, functions
Former use: Aboriginal land, residence

History

Historical notes: Darling Point or Yarranabbee:
Originally known by its Aboriginal name Yarranabbee, Darling Point was called Mrs Darling's Point by Governor Ralph Darling (1825-31 Governor) in honour of his wife, Eliza. At that time the area was heavily timbered, but after New South Head Road was built in 1831 timber cutters felled most of the trees, and the land was subdivided. Most of the plots, covering 9-15 acres in this area, were taken up between 1833 and 1838. The suburb later became known as Darling Point. Several notable people bought land and built homes here, including surveyor-general Sir Thomas Mitchell's "Carthona" and one-time home "Lindesay". (Pollen, 1988, 79).

Mrs Darling's Point was named by Surveyor Larmer, who did the original survey (on 11 September 1833 nine allotments were laid out)(Crosson, 2012).

The first land grant was made in 1833 to a Thomas Holt. In 1833 'villa allotments' were advertised for sale at "Mrs Darling's Point". There were soon several cottages and villas built in the area, but from the 1840s more grandiose mansions arose as the colony's most successful businessmen bought up land on the point. ... (Daily Telegraph, 2007, 30).

Lindesay:
Lindesay is an 1834-6 house built for the then colony's Treasurer, Mr Campbell Drummond Riddell (b.1796 - a young and well-connected Scotsman) and his wife Caroline (nee Stuart Rodney, b.1814 in Ceylon, the 16 year old daughter of the Government Secretary in Colombo) on a site of c.17 (Wentworth Courier, 2014) acres of land with stables, outbuildings and garden sweeping down to the harbour (Pollen, 1988, 80). The property took two years to complete (Le Sueur, 2013).

It was designed as a villa - typically a free-standing rectangular block which presents a different, self-contained facade on each side. This was a style much favoured by professional families at the time in rural Britain but, although bearing similarities to designs in English Regency Pattern Books, the design of Lindesay is simpler, reflecting a mix of Scottish austerity with a good dose of colonial disregard for convention. This very simplicity could possibly be read as a snub to Governor Bourke, who was rapidly becoming persona non grata for Riddell and others in colonial society and whose plans for a new Government House were 'modern Gothic' and ornate, to say the least (Le Seuer, 2013). The design owed much to contemporary pattern books and was also attributed initially to James Chadley and Edward Hallen, although the work was completed under the direction of Francis Clarke (Orwell & Peter Phillips Architects, 2004, 1). It was named in honour of Colonel Patrick Lindesay (1778-1839) who was acting Governor of the colony from 22 October to 2 December 1831, between the departure of Governor Darling and the arrival of the next Governor, Sir Richard Bourke. (Pollen, 1988, 80). This Acting Governor reserved the 17 acres for Riddell in 1834 and it is believed that this favour of reserving the land led Riddell to name the house after his friend, the fellow Scot, Patrick Lindesay (Wentworth Courier, 2014).

The Riddells moved into Lindesay with their two year old son in 1836, but remained there only two years. Following their departure the property had a number of owners including Sir Thomas Mitchell who, as Surveyor-General in the 1830s, conducted three major expeditions into the interior of Australia. In 1841 he sold it to his friend Sir Charles Nicholson, an avid collector of rare books and antiquities and future Chancellor of the University of Sydney. Nicholson housed his library, thought to be one of the largest private libraries in the colony, at Lindesay, with a special room set aside for his statues. In 1849 Nicholson sold to William Bradley, a wealthy pastoralist who had married Emily Hovell, daughter of explorer William Hovell. He died at Lindesay in 1868 (Le Seuer, 2013).

Additions to the house, new and altered outbuildings and changes to the property boundaries were made by successive owners throughout the 19th century, including James Barker (1838-41); Mitchell (1841-45); Nicholson (1845-59); William Bradley (1849-68); and John Macintosh (1868-1911)(Orwell & Peter Phillips Architects, 2004, 1).

Sir Thomas Mitchell, Surveyor-General of NSW, bought Lindesay in 1841 (Wentworth Courier, 2014) to be in a better position to supervise the construction of his own house, Carthona, down on the Darling Point waterfront nearby (to its south)(Russell, 1980, 67). Mitchell in the 1830s had undertaken three major expeditions throughout Australia, taking his reports back to England and being knighted for his effort (Wentworth Courier, 2014). His youngest daughter Blanche was born here in 1843. He sold the house in 1843 to his friend, Dr Charles Nicholson, eminent art collector and patron of artists. (Russell, 1980, 67). Sir Thomas Mitchell in 1841 began to build Carthona near the water's edge. He wanted to escape Darlinghurst (his home here on Darlinghurst Ridge was called 'Craigend') which he now considered 'too built up'. Carthona was another Gothic revival manor, complete with castellations. The design was copied from an English pattern book (Daily Telegraph, 2007, 30).

The Hon Sir Charles Nicholson MLC puchased Lindesay in 1845, after moving to Sydney in 1843 and being elected to the NSW Legislative Council. He would later become Speaker. He sold Lindesay to William Bradley in 1849 (Wentworth Courier, 2014).

Sydney newspapers of the mid 1850s give reports of the social activities of the era and of the hostesses who entertained with charm and elan. One of the famous venues was the Gothic style mansion Lindesay. It was ... occupied ...later by William Bradley, a wealthy pastoralist, who reared his motherless daughters in the house (Pollen, 1988, 80).

City of Sydney councillor John Macintosh bought the property in 1868. While he was at Lindesay, Macintosh built two other houses on Darling Point - Braeside and Cintra - for his children (ibid, 2014).

In 1911 Macintosh died at Lindesay and it was sold two years later to Alfred Wunderlich who subdivided it (ibid, 2014). After subdivision, which involved removal of its 19th century garden, the house and a small area of land around it were bought by Dr Edward Jenkins. He engaged Robertson & Marks as architects for the rebuilding of the service wing at the rear of the house and internal alterations including bathrooms and replacement of the principal stair in the main house.

The property was sold to the Pye family in 1926 (Orwell & Peter Phillips Architects, 2004, 1), the Macintoshes moving to a smaller house at 35 New South Head Road, Vaucluse. Charles and Mary Pye lived the rest of their life at Lindesay (ibid, 2014).

C1935 (pre WW2) Walter Pye built a gazebo between the (now) parterre garden and the main garden.

In 1960, Colonel Pye divided the house into 3 flats, with further subsequent internal alterations. On his death in 1963, his brother Walter D. Pye donated the house and a collection of furniture to the National Trust of Australia (NSW)(Orwell & Peter Phillips Architects, 2004,1).

In 1960 Cherry Jackaman joined Blaxland on the Womens' Committee. Jackaman chaired this committee from 1964-67 and by 1968 it had raised more than $100,000, which was directed to Experiment Farm Cottage, Lindesay and the St.Matthews Anglican Church at Windsor Appeal (McGuiness, 23-24/9/11). The committee was established to raise funds, source furnishings and encourage membership of the Trust (Le Seuer, 2015, 6).

In 1961 (LeSeuer, 2015 says it was formed in 1960) Dame Helen Blaxland founded the Womens' Committee of the National Trust of Australia (NSW), to raise funds for the Trust. Blaxland introduced the lucrative idea of 'house inspections' and initiated the exhibition, 'No Time to Spare!', shown at the David Jones Art Gallery in 1962 and later throughout NSW Division of the Arts Council of Australia. On display were photographs by Max Dupain of early public buildings and houses. Elected to the Trust's Coucnil in 1862, Blaxland was vice-president (1965-71), State representative (1969-71) on the Australian Council of National Trusts and honorary life member from 1967. She chaired (1967-71) the inaugural committee for Lindsay, a historic house given to the Womens' Committee as their headquarters. The Lindsay Committee furnished the house in period style and held Trust events there, notably annual antique dealers' fairs and exhibitions of Australian decorative arts (Simpson, C., 2007).

Since 1963 the house has been used by committees of the National Trust (NSW) as offices, for public functions and exhibitions (Orwell & Peter Phillips Architects, 2004, 1).

In 1964 the Lindesay Management Committee was established. Fundraising commenced through exhibitions, antique fairs etc. Dame Helen Blaxland chaired this committee from its inauguration until 1976, then continuing her involvement as "Honourable Housekeeper".

The Womens' Committee continue to run events including an annual antiques/decorating fair and private home visits to fund raise for the maintenance of Lindesay.

Guy Lovell was Honorary Architect for the National Trust, charged with restoring the property. In 1966 the Lindesay Garden Group was established to recreate a garden setting reminiscent of early designs. Diana Pockley was appointed chair. The garden plan focussed on the harbour view. This was framed by trees and plantings tall enough to obscure adjacent buildings, and remains today, adding a wonderful dimension to the rich colour and form of the grounds - a direct link between the property today, and as it was in the days of its first occupants.

In the 1960s garden designer Jocelyn Brown designed a plan for the entrance garden at Lindesay. An existing plane tree (Platanus orientalis) in the centre of the space dictated the shape of the plan. Sawn stone edging was suggested for the garden beds, in keeping with the stone of the kitchen courtyard of the house, and the drive was finished with brick gutters. This entrance, with minor changes in planting detail, has developed into an impressive shaded forecourt to the building, a leafy canopy enriched with darker greens around the periphery (Proudfoot, 1989).

To the east of the house where the grounds are walled, a formal courtyard (parterre) garden was planted, laid out to designs by Guy Lovell. This remains today (2003), a geometric arrangement of gravel paths and low box (Buxus sempervirens) hedges define flower beds planted with ivy (Hedera sp.). This parterre is enclosed with a high, clipped privet hedge (Ligustrum sp.), and presided over by "the Four Seasons", a fine set of 19th century, Italian female figure sculptures of Serena stone. The funds to enable this work were raised by the Lindesay Garden Group and Lindesay Management Committee, by women including Diana Pockley, Dame Helen Blaxland, Peggy Muntz and Rosemary Fairbairn.

In 1967 the National Trust reconstituted the Lindesay Garden Group as the National Trust Garden Committee, with Diana Pockley as chair. This Committee's work was broader, including work on replanting the grounds of Experiment Farm cottage, Parramatta, Old Government House, Parramatta and Riversdale, Goulburn.

The Womens' Committee's plan was to recreate a garden setting for the villa that was reminiscent of 19th century gardens. An English oak (Quercus robur) was planted as a symbol of 'home' for the first lady of the house, Caroline Riddell. A hoop pine (Araucaria cunninghamii) was added to acknowledge the place of native 'auricarias' in 19th century horticultural fashion, and the central lawn sweeping down to the (harbour) view was edged with other plants on the era's must-have lists. Long-time volunteer Ros Sweetapple jokes about being closely supervised in the early days, and only allowed to trim the (box) parterre with nail scissors. She also recalls visits made to Rookwood cemetery to collect cuttings of old roses to fill Lindesay's beds with authentic, 19th century plant material (Powell, 2016).

In 1989-91 the National Trust went through turbulent times. A new management committee was established for Lindesay, chaired by Aline Fenwick, OBE, which organised many fund raising events, exhibitions, open days and opportunities to hire out the property to generate income to maintain it (Simpson, C., 2003).

In 1989 Dame Helen Blaxland died and the Dame Helen Blaxland Foundation was exsablished in her memory, for the continued preservation of Lindesay, Experiment Farm Cottage and Old Government House (Simpson, C., 2007).

8/2009: The Governor Marie Bashir, Sir Nicholas Shehadie and other guests enjoyed a dinner party hosted by the Trust Board to mark Lindesay's 175th anniversary. With a Scottish theme to honour its first owner, Campbell Drummond Riddell, and many subsequent Scottish owners, guests included Mr Edward Sly, descendent of Sir Thomas Mitchell, second owner of Lindesay and generous donor of Mitchell memorabilia to the house; Mr Jim Macintosh, descendent of the family which owned Lindesay from 1870-1913 and generous donor to the house. Guests enjoyed the new garden planting and inspired garden lighting, all possible by the fundraising work of the Special Events Panel of the Womens' Committee (National Trust Magazine (NSW), Aug.-Oct.2009/Spring, 5).

National trust Magazine NSW November 2008-January 2009: $5,969 was used to assist in maintenance of the garden.

5/2013 - The NT Womens' COmmittee are celebrating 50 years of National Trust ownership of the property. This Committee has used Lindesay extensively over the years as a base for events for fundraising for the Trust (NT News, 5/2013).

By 2014 the attempt to make a 19th century garden in the 21st century was failing and the focus on authentic plant material gave way to something more elusive. The aim was to recreate the sense of pleasure that being in the garden at Lindesay always provided: to offset the house and views without replicating a vintage plant palette. Partly this change had to do with pragmatism. Like all Trust properties, Lindesay has to sing for its supper. The weddings functions, fairs, photo and film shoots that pay its way all demand a garden that looks good every day of the year. To make it happen, the mature plantings stayed but everything else went. Private garden designer Christopher Nicholas devised a modern planting plna that has references to the past and looks good in a wedding photo. Flowers flush throughout the year, mostly in subtle blue tones, and a tapestry of silver, blue and purple foliage supplements the background greens. A team of volunteers keep it in great condition, with five-hours-a-week help from a professional, Nicholas Ball of Avant Design (Powell, 2016).

The National Trust Womens' Committee will launch its oral history collection on 20 May 2017. This extraordinary group of women have achieved much. Formed in 1961, they have raised over $20m for the National Trust of Australia (NSW) in 56 years. To record their own story the Womens' Committee initiated its oral history collection and in conjunction with 'Having a Voice', have curated a modest exhibition capturing the mood of the times (NTA, 2017).

In late 2017 the Historic Houses Association moved its administration office from the National Trust Centre on Observatory Hill to Lindesay (HHA, e-news, 1/2018).

Historic themes

Australian theme (abbrev)New South Wales themeLocal theme
3. Economy-Developing local, regional and national economies Environment - cultural landscape-Activities associated with the interactions between humans, human societies and the shaping of their physical surroundings Landscapes and gardens of domestic accommodation-
3. Economy-Developing local, regional and national economies Environment - cultural landscape-Activities associated with the interactions between humans, human societies and the shaping of their physical surroundings Gardens and landscapes reminiscent of an 'old country'-
4. Settlement-Building settlements, towns and cities Accommodation-Activities associated with the provision of accommodation, and particular types of accommodation – does not include architectural styles – use the theme of Creative Endeavour for such activities. Residences to remember-
4. Settlement-Building settlements, towns and cities Accommodation-Activities associated with the provision of accommodation, and particular types of accommodation – does not include architectural styles – use the theme of Creative Endeavour for such activities. Gentlemens Mansions-
4. Settlement-Building settlements, towns and cities Accommodation-Activities associated with the provision of accommodation, and particular types of accommodation – does not include architectural styles – use the theme of Creative Endeavour for such activities. Housing the prosperous - mansions in town and country-
4. Settlement-Building settlements, towns and cities Land tenure-Activities and processes for identifying forms of ownership and occupancy of land and water, both Aboriginal and non-Aboriginal Changing land uses - from rural to suburban-
4. Settlement-Building settlements, towns and cities Land tenure-Activities and processes for identifying forms of ownership and occupancy of land and water, both Aboriginal and non-Aboriginal Sub-division of large estates-
8. Culture-Developing cultural institutions and ways of life Domestic life-Activities associated with creating, maintaining, living in and working around houses and institutions. Ways of life 1788-1850-
8. Culture-Developing cultural institutions and ways of life Domestic life-Activities associated with creating, maintaining, living in and working around houses and institutions. Ways of life 1850-1900-
8. Culture-Developing cultural institutions and ways of life Domestic life-Activities associated with creating, maintaining, living in and working around houses and institutions. Ways of life 1900-1950-
8. Culture-Developing cultural institutions and ways of life Domestic life-Activities associated with creating, maintaining, living in and working around houses and institutions. Ways of life 1950-2000-
9. Phases of Life-Marking the phases of life Persons-Activities of, and associations with, identifiable individuals, families and communal groups Associations with Dame Helen Blaxland, conservationist-
9. Phases of Life-Marking the phases of life Persons-Activities of, and associations with, identifiable individuals, families and communal groups Associations with Governor (Mjr-Gen., later Gnl., Sir) Ralph Darling and Eliza Darling, 1826-1830-
9. Phases of Life-Marking the phases of life Persons-Activities of, and associations with, identifiable individuals, families and communal groups Associations with Sir Thomas Mitchell, Surveyor-General-
9. Phases of Life-Marking the phases of life Persons-Activities of, and associations with, identifiable individuals, families and communal groups Associations with Jocelyn Brown, garden designer, writer-
9. Phases of Life-Marking the phases of life Persons-Activities of, and associations with, identifiable individuals, families and communal groups Associations with Dr Campbell Drummond Riddell, Colonial Treasurer-
9. Phases of Life-Marking the phases of life Persons-Activities of, and associations with, identifiable individuals, families and communal groups Associations with James Barker, prominent settler-
9. Phases of Life-Marking the phases of life Persons-Activities of, and associations with, identifiable individuals, families and communal groups Associations with William Bradley MLA, prominent farmer, grazier and entrepreneur-
9. Phases of Life-Marking the phases of life Persons-Activities of, and associations with, identifiable individuals, families and communal groups Associations with Sir Charles Nicholson, first Speaker of NSW Legislative Council-
9. Phases of Life-Marking the phases of life Persons-Activities of, and associations with, identifiable individuals, families and communal groups Associations with Colonel Patrick Lindesay, Acting Governor, 1831-

Recommended management:

Recommendations

Management CategoryDescriptionDate Updated
Recommended ManagementProduce a Conservation Management Plan (CMP) 
Recommended ManagementPrepare a maintenance schedule or guidelines 
Recommended ManagementCarry out interpretation, promotion and/or education 

Procedures /Exemptions

Section of actDescriptionTitleCommentsAction date
57(2)Exemption to allow workHeritage Act Record converted from HIS events


Order Under Section 57(2) to exempt the following activities from Section 57(1):
* Maintenance
* Preservation
* Restoration
* Reconstruction
as defined in the Australian ICOMOS Charter for the Conservation of Places of Cultural Significance (The Burra Charter) and its guidelines.

1.5 Maintenance means the continuous protective care of the fabric, contents and setting of a place, and is to be distinguished from repair. Repair involves restoration or reconstruction and it should be treated accordingly.
Jul 30 1993
21(1)(b)Conservation Plan submitted for commentConservation Management Plan by Orwell Peter Phillips Architects for National Trust (NSW), dated June 2004, 3 volumes. Copy of Conservation Management Plan in Heritage Office Library Dec 19 2005
57(2)Exemption to allow workStandard Exemptions SCHEDULE OF STANDARD EXEMPTIONS
HERITAGE ACT 1977
Notice of Order Under Section 57 (2) of the Heritage Act 1977

I, the Minister for Planning, pursuant to subsection 57(2) of the Heritage Act 1977, on the recommendation of the Heritage Council of New South Wales, do by this Order:

1. revoke the Schedule of Exemptions to subsection 57(1) of the Heritage Act made under subsection 57(2) and published in the Government Gazette on 22 February 2008; and

2. grant standard exemptions from subsection 57(1) of the Heritage Act 1977, described in the Schedule attached.

FRANK SARTOR
Minister for Planning
Sydney, 11 July 2008

To view the schedule click on the Standard Exemptions for Works Requiring Heritage Council Approval link below.
Sep 5 2008

PDF Standard exemptions for works requiring Heritage Council approval

Listings

Heritage ListingListing TitleListing NumberGazette DateGazette NumberGazette Page
Heritage Act - State Heritage Register 0068602 Apr 99 271546
Heritage Act - Permanent Conservation Order - former 0068624 Nov 89 1141011
Register of the National Estate  21 Mar 78   

References, internet links & images

TypeAuthorYearTitleInternet Links
WrittenKerr, Joan (et al); edited by Dysart, Dinah and Proudfoot, Helen1984Lindesay: a biography of the house
WrittenLe Seuer, Angela2015'National Trust celebrates its 70th anniversary'
WrittenLe Seuer, Angela2013'Lindesay celebrates 50 yeasr in Trust ownership'
WrittenLeSeuer, Angela (ed.)2004An immaculate sense of style - the gardens of Lindesay
WrittenMcGuiness, Mark2011Love & Duty shaped long life - Cherry Jackaman, 1910-2011 (obituary)
WrittenMichael Lehany, James Broadbent1982Lindesay, Darling Point - Garden Report
WrittenNational Trust of Australia (NSW)2017'Lindesay, Darling Point - a fit object for preservation - Women's Committee Oral History Collection'
WrittenOrwell & Peter Phillips architects2004Lindesay 1a Carthona Avenue Darling Point : conservation management plan
WrittenPollen, Francis (ed.)1988Darling Point, in "the Book of Sydney Suburbs"
WrittenPowell, Robin2016'Pleasure in any season'
WrittenProudfoot, Helen1989Gardens in Bloom Jocelyn Brown and her Sydney gardens of the 30s and 40s
WrittenRussell, Eric1980Woollahra - a history in pictures
WrittenSimpson, Caroline2007'Dame Helen Frances (1907-1989)' View detail
WrittenSimpson, Caroline2003Some Women of the National Trust
WrittenWentworth Courier2014'Eastern Suburbs Insider - Ten things you might not have known about the house known as Lindesay, at Darling Point

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Data source

The information for this entry comes from the following source:
Name: Heritage Office
Database number: 5045228
File number: 09/4425; S90/06130; HC 32149


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