Early-mid C19 villa of rubble stone with quoins. Welsh slate roof, hipped at right, stone-coped at left. Two storeys, three windows, slightly irregular. Raised, dressed stone surrounds to sash windows with glazing bars and to half glazed door with cornice over. Canted bay at ground floor right. Rear extensions in similar style and materials, double span at right, but of different builds.

The former Public Library. 1882-5 by John Johnstone. Art school and art gallery above. Ashlar in an extravagant neo-baroque style. Welsh slate roof. Two storeys and attic, five bays, the central bay projecting under a shaped, pedimented gable with round-arched attic windows. Flanking broken serpentine pediments have round windows, urn finials and carved swags. Urns rest on parapet at ends and between gables. Heavy entablatures to both floors, resting on end pilasters and (on first floor) paired pilasters between windows. Carved friezes. Flat arched first floor windows, the central tripartite and breaking the pediment of the entrance, which rests on two heavy carved brackets.
Ground floor openings round arched with archivolts, key stones with masks and impost string; nook shafts to door. Ground floor rusticated with sunk apron panels.
Included partly for group interest with the remaining municipal buildings on Swinburne Street-West Street.

1872 reconstruction as a drinking fountain. Dated in shield in gable shaped back
flanked by piers with pyramidal caps. Coursed squared stone. Central
alcove holds basin (tap removed) with pious text above.

Circa 1877 although NCAS reports dates it as 1871. Snecked squared stone with bands and a bracketed top cornice. Welsh slate roof. Two storeys above a tall basement increasing in height as the hill slopes down. Large round arched openings to lower storey, segmental arched above. Ten bays in all. Round windows in gable ends. Interior shows a completely barrel vaulted ground storey with ten parallel vaults on substantial piers. Now in use as vehicle repair shop {1}. Built as part of extensions to the workshops built before 1856. The new building provided 8 fire or forges and replaced the row of small buildings on the south side of Rabbit Banks/High Level road shown on the 1st edition ordnance survey plan. Being built against the north-facing slope the buildings has a substantial vaulted 'basement' area accessed from Rabbit Banks Road.

1871 by Adams and Kelly of Leeds. Ashlar with high pitched slated roof, idiosyncratic early Gothic style, French influence. Plain long nave, with clerestory, runs directly into chevet at east end. Aisles are rows of six cross-gables with short buttresses between, shallow gabled porch in westernmost. Cusped lancets, single in clerestory, paired elsewhere, with roundels or quatrefoils over. Pent west porch. Inside has compound aisle piers with stiff-leaf capitals. Wagon roof whose ribs rest on engaged columns. Handsome east end with good stained glass panels of prophets and saints. Land given by Lord Northbourne. Contributions from Lords Northbourne and Joicey. This church stood empty from 2008-11. Restored in 2011. Now the Catholic Church of the Holy Name of Jesus.

1903 by G W Stevenson. Lively and naturalistic life size bronze figure in
aldermanic robes on rusticated sandstone pedestal inscribed: ALDERMAN JOHN LUCAS
1837-1900 ERECTED BY PUBLIC SUBSCRIPTION 1903, standing on moulded granite plinth. John Lucas (1837-1900) was vice-president of the Northern Reform League and a colleague of Joseph Cowen. He stood as a parliamentary candidate for Gateshead in 1895 but was unsuccessful. He was Mayor of Gateshead in 1888 and 1889.

Dated 1905. By Francis W. Doyle-Jones of London. Stepped, tapered granite plinth. Bayleaf pattern torus at step and draped cartouches below cornice. Inscribed with names of fallen on sides. Scrolled step above, with carved bay wreath, on which stands bronze angel/winged victory holding aloft a laurel crown. Although a relatively small number of men were killed in this conflict, this memorial is dedicated to 76 men from the Gateshead area. A large number of regiments are listed including the Gordon Highlanders, Durham Light Infantry, Coldstream Guards, General Brabant's Light Horse and Kitchener's Fighting Scouts. "JAMES GILDEA, 1911, 4TH ROYAL WARWICKSHIRE REGIMENT FOR REMEMBRANCE AND IN HONOUR OF THOSE WHO LOST THEIR LIVES IN THE SOUTH AFRICAN WAR 1899-1902". Unveiled 11th November 1905.

Fountain in grounds to south-west of Whinney House Hospital
Later C19 stone fountain in keeping with style of house. Octagonal basin whose dwarf walls have krater-shaped urns on plinths at each angle. In centre, a moulded octagonal plinth with small angles seated at four of the angles. Above a quadrooned moulding rises a taller central plinth water-carrier. It has been suggested that the figure in the fountain may be biblical – such as Rebekah, the wife of Isaac, who was encountered by Isaac’s servant at a well, or the Samaritan woman Jesus spoke to at a well. This may tie in with the endowment of St Helen’s Church by the Joicey family.

Built by Joseph Willis Swinburne in 1856. Swinburne was Town Clerk of Gateshead until 1888. There is a picture of him in a stained glass window in the former Town Hall. The architect of Heathfield was John Wardell (designed the Hancock Museum of 1884). Sinburne sold the house to the Lange Brothers some time in the 19th century. The brothers were German and they made their wealth from coal and chemicals. The owners of all the houses along Durham Road had eccentric gardens but Heathfield's was probably the most eccentric. The gardens included artificial mountains, a bear garden, alpine trees and a lake with a glass pagoda on an island. There was a spectacular gateway, the cast iron gates flanked by arches and topped with stone lions. The earliest phase of the house is a neoclassical villa with restrained Italianate motifs. The main door is slightly recessed and the fronts of the main rooms project to either side. The projecting coffered cornice runs around all sides of the house. The dining room was to the east, the drawing room to the west, with an extension block to make the drawing room bigger. The dining room retains elaborate mid 19th century plasterwork and a centrepiece to the ceiling. The plasterwork in the drawing room has been damaged by the later subdivision of the room into two. Most of the plasterwork is neo Italian or Roman style, apart from the soffit of the beam between the drawing room and its extension, which is Greek style. The entrance hall between the two main rooms leads to the main stair hall. A smaller room west of the stair hall might have been a morning room, a study or a library. The projecting bay had a tripartitie window facing onto the garden. To the east of the stair hall was the kitchens and store rooms with its own service stair. The stair hall is one of the most elaborate rooms - decorated balustrade, handrail, painted glass window and ceiling rose for a chandelier or lantern. A Serlian arch screen separates the entrance hall and stair hall. The main doors in the stair hall had pediments over them. There was a large conservatory attached to the dining room. It probably had a convex pitch on all sides with a gutter to the north and west. This was replaced by a larger conservatory later on. The present conservatory is more modern still. To the north-west a larger dining room was created with an extension. The house was divided into five flats in the early 20th century. The eastern block became a two-storey house using the service stair as its main stair. The work was of good quality. Each of the flats had details added to make the flats more attractive. In the east wing, the cornice of the bedroom was continued around the new partition to make a corridor. The Serlian screen became an entrance to a flat. An entrance screen contains Art Nouveau style stained glass. The first floor flat to the north-west has two arts and crafts style fireplaces.

1899 dated on foundation stone. Architect Stephen Piper. Rusticated snecked
sandstone with ashlar dressings. Nave and passage aisles, very tall. Arts-and-
Crafts lancet style. South-west saddleback tower with angle turrets. Balancing
north-west porch. Two wide nave bays, two gabled transept bays of equal width;
long, tall chancel with low aisles and half-octagonal south vestry projection with
mullion-and-transom windows. Church windows are grouped or stepped lancets.

Lofty, plain and dignified interior, ashlar and plaster. Wood barrelled roof whose
braces rest on stone corbels. Woodwork and metal fittings of good quality. Pleasing
stained glass in east and west windows and south aisle.