After training as a Cartographic Draftsman within the mining industry, I worked as a property illustrator for real estate firms in the eastern suburbs of Melbourne for 23 years from 1983. I initially photographed houses with a Polaroid camera and made a 'thumbnail' sketch while there. The photos were used to scale off a sketch in pencil and then that sketch was overlaid with drafting film and the 'pen and ink' completed. The pens I used were the Rotring ‘Rapidigraph’ drafting pens. The ink was also made by Rotring (German).The film was ‘Rapidraw’, polyester drafting film, double matte. It takes a very fine line and doesn’t bleed. As well as house sketches, there were often floor plans and site plans ordered. Aerial sketches were ordered when the property needed an overall view. (Margaret Picken, 2020)This drawing is one of a series created by Margaret Picken for a number of real estate agents in Melbourne between 1983 and 2005. Each work is signed and dated by the artist.Gift of Margaret Picken, 2020Pen and ink architectural drawing on drafting film of 95 Pakington Street, Kew by Margaret Picken.95 PAKINGTON ST., KEW / MARGARET PICKEN '92 / WOODARDS ~ KEWartist -- margaret picken 1950-, architectural drawings -- houses -- kew (vic.), 95 pakington street - kew (vic)

After training as a Cartographic Draftsman within the mining industry, I worked as a property illustrator for real estate firms in the eastern suburbs of Melbourne for 23 years from 1983. I initially photographed houses with a Polaroid camera and made a 'thumbnail' sketch while there. The photos were used to scale off a sketch in pencil and then that sketch was overlaid with drafting film and the 'pen and ink' completed. The pens I used were the Rotring ‘Rapidigraph’ drafting pens. The ink was also made by Rotring (German).The film was ‘Rapidraw’, polyester drafting film, double matte. It takes a very fine line and doesn’t bleed. As well as house sketches, there were often floor plans and site plans ordered. Aerial sketches were ordered when the property needed an overall view. (Margaret Picken, 2020)This drawing is one of a series created by Margaret Picken for a number of real estate agents in Melbourne between 1983 and 2005. Each work is signed and dated by the artist.Gift of Margaret Picken, 2020Pen and ink architectural drawing on drafting film of 98 Pakington Street, Kew by Margaret Picken.98 PAKINGTON ST., KEW / MARGARET PICKEN ©2002 / FLETCHERS REAL ESTATEartist -- margaret picken 1950-, architectural drawings -- houses -- kew (vic.), 98 pakington street - kew (vic)

Viola Annie McVicars (1911–1990) was born in Korumburra on 29 April 1911. At the age of 21, she married William John Ayling (1909–1995). After their marriage in 1932, they moved to Kew, initially to 81 Tennyson Street, and later to 180 Pakington Street. A professional tailoress, Viola Ayling was also a talented amateur potter, creating her ceramics at her home in Pakington Street, where she had an internal studio and a handmade, wood-fired brick kiln in her backyard. Following her death in 1990, her studio pottery passed to her daughter, and following the daughter’s death, to her granddaughter. This piece of glazed earthenware is part of a collection of 15 functional and decorative ceramic items donated by Viola’s granddaughter to the collection in 2024.A dish, expertly potted and glazed. The style is representative of Australian ceramic design of the period, particularly that employed by the Australian art potter, Klytie Pate.Small, green glazed dish, highlighted with splashes of purple. Five ballerinas in the cavetto surround an undecorated well. The reverse is glazed a lighter green. Spur marks in the foot rim reveal that the dish was supported on stilts in the kilnSignature to base: "V. Ayling"ceramics, pakington street -- kew (vic.), dishes, viola annie mcvicars, viola annie ayling

Viola Annie McVicars (1911–1990) was born in Korumburra on 29 April 1911. At the age of 21, she married William John Ayling (1909–1995). After their marriage in 1932, they moved to Kew, initially to 81 Tennyson Street, and later to 180 Pakington Street. A professional tailoress, Viola Ayling was also a talented amateur potter, creating her ceramics at her home in Pakington Street, where she had an internal studio and a handmade, wood-fired brick kiln in her backyard. Following her death in 1990, her studio pottery passed to her daughter, and following the daughter’s death, to her granddaughter. This piece of glazed earthenware is part of a collection of 15 functional and decorative ceramic items donated by Viola’s granddaughter to the collection in 2024.Parent file of the items in the Viola Annie Ayling collection of 1940s, 1950s, 1960s and 1970s ceramics. This parent file includes digital copies of a photograph of the ceramicist and also of her home at 128 Pakington Street, Kew, in 1951 where she practiced her art.128 pakington street -- kew (vic.), ceramics -- victoria (australia), viola annie mcvicars, viola annie ayling

Viola Annie McVicars (1911–1990) was born in Korumburra on 29 April 1911. At the age of 21, she married William John Ayling (1909–1995). After their marriage in 1932, they moved to Kew, initially to 81 Tennyson Street, and later to 180 Pakington Street. A professional tailoress, Viola Ayling was also a talented amateur potter, creating her ceramics at her home in Pakington Street, where she had an internal studio and a handmade, wood-fired brick kiln in her backyard. Following her death in 1990, her studio pottery passed to her daughter, and following the daughter’s death, to her granddaughter. This piece of glazed earthenware is part of a collection of 15 functional and decorative ceramic items donated by Viola’s granddaughter to the collection in 2024.A handmade oval footed dish, expertly potted and glazed. The style is representative of Australian ceramic design of the period, particularly that employed by Klytie Pate.Handmade, earthenware, footed oval dish, covered with a turquoise glaze. The feet, two of which has been repaired, were created from coils that were then luted to the base.The base bears the signature of the artist.Signature to base: "V. Ayling"ceramics, pakington street -- kew (vic.), dishes, viola annie mcvicars, viola annie ayling

Viola Annie McVicars (1911–1990) was born in Korumburra on 29 April 1911. At the age of 21, she married William John Ayling (1909–1995). After their marriage in 1932, they moved to Kew, initially to 81 Tennyson Street, and later to 180 Pakington Street. A professional tailoress, Viola Ayling was also a talented amateur potter, creating her ceramics at her home in Pakington Street, where she had an internal studio and a handmade, wood-fired brick kiln in her backyard. Following her death in 1990, her studio pottery passed to her daughter, and following the daughter’s death, to her granddaughter. This piece of glazed earthenware is part of a collection of 15 functional and decorative ceramic items donated by Viola’s granddaughter to the collection in 2024.A pair of handmade bookends, expertly potted and glazed. The style is representative of Australian ceramic design of the period, particularly that employed by Klytie Pate.Pair of hand moulded abstract ceramic wall sculptures with holes and marks of the original wires on the reverse. The front and back are glazed while the interior has been left unglazed. The free-form shapes resemble waves which were initially covered with a white glaze which was then overgrazed in a semi-transparent turquoise glaze. Both pieces are signed by the artist on the reverse.Signature to bases: "V. Ayling"ceramics, pakington street -- kew (vic.), viola annie mcvicars, viola annie ayling, ceramic sculptures

Viola Annie McVicars (1911–1990) was born in Korumburra on 29 April 1911. At the age of 21, she married William John Ayling (1909–1995). After their marriage in 1932, they moved to Kew, initially to 81 Tennyson Street, and later to 180 Pakington Street. A professional tailoress, Viola Ayling was also a talented amateur potter, creating her ceramics at her home in Pakington Street, where she had an internal studio and a handmade, wood-fired brick kiln in her backyard. Following her death in 1990, her studio pottery passed to her daughter, and following the daughter’s death, to her granddaughter. This piece of glazed earthenware is part of a collection of 15 functional and decorative ceramic items donated by Viola’s granddaughter to the collection in 2024.A handmade vase, expertly potted and glazed. The style is representative of Australian ceramic design of the period, particularly that employed by Klytie Pate.Wheel-thrown, globular earthenware vase with a fluted neck, The vase has three glazes, its exterior glaze is a mottled greenish black which has dripped onto the foot rim. Internally it is glazed in cream, while the four petalled flowers encased in buds that form the exterior decoration are highlighted in pink, as is the interior of the rim. The base is signed with the artist's signature.Signature to bases: "V. Ayling"ceramics, pakington street -- kew (vic.), vase, viola annie mcvicars, viola annie ayling

Viola Annie McVicars (1911–1990) was born in Korumburra on 29 April 1911. At the age of 21, she married William John Ayling (1909–1995). After their marriage in 1932, they moved to Kew, initially to 81 Tennyson Street, and later to 180 Pakington Street. A professional tailoress, Viola Ayling was also a talented amateur potter, creating her ceramics at her home in Pakington Street, where she had an internal studio and a handmade, wood-fired brick kiln in her backyard. Following her death in 1990, her studio pottery passed to her daughter, and following the daughter’s death, to her granddaughter. This piece of glazed earthenware is part of a collection of 15 functional and decorative ceramic items donated by Viola’s granddaughter to the collection in 2024.A handmade, reticulated ceramic vase, expertly potted and glazed. The style is representative of Australian ceramic design of the period, particularly that employed by Klytie Pate.Wheel thrown ceramic vase with the body pierced between the moulded floral exterior. The vase is fully glazed in orange with the glaze pooling in the recessed sections to provide an opaque contrast. The five petalled flowers and leaves extend to the base, which is separately glazed in a paler colour and signed by the artist. Signature to base: "V. Ayling"ceramics, pakington street -- kew (vic.), vases, reticulated containers, pierced work, viola annie mcvicars, viola annie ayling

Viola Annie McVicars (1911–1990) was born in Korumburra on 29 April 1911. At the age of 21, she married William John Ayling (1909–1995). After their marriage in 1932, they moved to Kew, initially to 81 Tennyson Street, and later to 180 Pakington Street. A professional tailoress, Viola Ayling was also a talented amateur potter, creating her ceramics at her home in Pakington Street, where she had an internal studio and a handmade, wood-fired brick kiln in her backyard. Following her death in 1990, her studio pottery passed to her daughter, and following the daughter’s death, to her granddaughter. This piece of glazed earthenware is part of a collection of 15 functional and decorative ceramic items donated by Viola’s granddaughter to the collection in 2024.A handmade vase, expertly potted and glazed. The style is representative of Australian ceramic design of the period, particularly that employed by Klytie Pate.Wheel thrown bulbous vase with a narrow neck. Subsequent to potting, the vase has been scraped from head to foot. An overall pink glaze, fading as it has dripped down the exterior has been highlighted with a second irregularly applied green glaze within the ridged surface. The artist has signed the base. Signature to bases: "V. Ayling" ceramics, pakington street -- kew (vic.), vase, viola annie mcvicars, viola annie ayling

Viola Annie McVicars (1911–1990) was born in Korumburra on 29 April 1911. At the age of 21, she married William John Ayling (1909–1995). After their marriage in 1932, they moved to Kew, initially to 81 Tennyson Street, and later to 180 Pakington Street. A professional tailoress, Viola Ayling was also a talented amateur potter, creating her ceramics at her home in Pakington Street, where she had an internal studio and a handmade, wood-fired brick kiln in her backyard. Following her death in 1990, her studio pottery passed to her daughter, and following the daughter’s death, to her granddaughter. This piece of glazed earthenware is part of a collection of 15 functional and decorative ceramic items donated by Viola’s granddaughter to the collection in 2024.A handmade ewer, expertly potted and glazed. The style is representative of Australian ceramic design of the period, particularly that employed by Klytie Pate.A handmade eathernware lidded ewer, the exterior fully covered in an olive green glaze, while the interior is glazed in cream The lower section of the body, the spout and the lid reveal the coil work construction technique used, whereas the upper body is smoothed.Signature to base: "V. Ayling"ceramics, pakington street -- kew (vic.), ewers, pouring vessels, viola annie mcvicars, viola annie ayling

Viola Annie McVicars (1911–1990) was born in Korumburra on 29 April 1911. At the age of 21, she married William John Ayling (1909–1995). After their marriage in 1932, they moved to Kew, initially to 81 Tennyson Street, and later to 180 Pakington Street. A professional tailoress, Viola Ayling was also a talented amateur potter, creating her ceramics at her home in Pakington Street, where she had an internal studio and a handmade, wood-fired brick kiln in her backyard. Following her death in 1990, her studio pottery passed to her daughter, and following the daughter’s death, to her granddaughter. This piece of glazed earthenware is part of a collection of 15 functional and decorative ceramic items donated by Viola’s granddaughter to the collection in 2024.A handmade vase, expertly potted and glazed. The style is representative of Australian ceramic design of the period, particularly that employed by Klytie Pate.Freeform, heavily-potted earthenware vase, initially covered with a semi-transparent maroon glaze with a secondary green glaze applied over the top and allowed to drip over parts of the ground colour. The interior and foot of the vase are glazed in cream. The artist has signed her name to the base.Signature to bases: "V. Ayling"ceramics, pakington street -- kew (vic.), vase, viola annie ayling, viola annie mcvicars

Viola Annie McVicars (1911–1990) was born in Korumburra on 29 April 1911. At the age of 21, she married William John Ayling (1909–1995). After their marriage in 1932, they moved to Kew, initially to 81 Tennyson Street, and later to 180 Pakington Street. A professional tailoress, Viola Ayling was also a talented amateur potter, creating her ceramics at her home in Pakington Street, where she had an internal studio and a handmade, wood-fired brick kiln in her backyard. Following her death in 1990, her studio pottery passed to her daughter, and following the daughter’s death, to her granddaughter. This piece of glazed earthenware is part of a collection of 15 functional and decorative ceramic items donated by Viola’s granddaughter to the collection in 2024.A handmade ceramic container, expertly potted and glazed in a style that is representative of Australian ceramic design of the period.Wheel-thrown ceramic container, the interior and exterior fully glazed. Three glazes have ben used to decorate the object. The exterior had an initial glaze in chocolate brown with a second glaze of orange. The interior and the base are glazed in a pale cream colour. The artist's signature is on the base. Signature to base: "V. Ayling"ceramics, containers, pakington street -- kew (vic.), viola annie mcvicars, viola annie ayling

Viola Annie McVicars (1911–1990) was born in Korumburra on 29 April 1911. At the age of 21, she married William John Ayling (1909–1995). After their marriage in 1932, they moved to Kew, initially to 81 Tennyson Street, and later to 180 Pakington Street. A professional tailoress, Viola Ayling was also a talented amateur potter, creating her ceramics at her home in Pakington Street, where she had an internal studio and a handmade, wood-fired brick kiln in her backyard. Following her death in 1990, her studio pottery passed to her daughter, and following the daughter’s death, to her granddaughter. This piece of glazed earthenware is part of a collection of 15 functional and decorative ceramic items donated by Viola’s granddaughter to the collection in 2024.A handmade, abstract figurative sculpture, expertly potted and glazed. The style is representative of Australian ceramic design of the period, particularly that employed by Klytie Pate.Hand modelled ceramic sculpture of a Madonna and Child figural group. The abstract figures are fully covered in an olive green overglaze, apart from the base which is overglazed in cream. The base has an incised spiral beneath the glaze, which was used to decorate the hidden surfaces of a number of pieces, The base is signed with the artist's name around the edge.Signature to base: "V. Ayling"ceramics, pakington street -- kew (vic.), sculptures, abstract art, madonnas and child, viola annie mcvicars, viola annie ayling

Viola Annie McVicars (1911–1990) was born in Korumburra on 29 April 1911. At the age of 21, she married William John Ayling (1909–1995). After their marriage in 1932, they moved to Kew, initially to 81 Tennyson Street, and later to 180 Pakington Street. A professional tailoress, Viola Ayling was also a talented amateur potter, creating her ceramics at her home in Pakington Street, where she had an internal studio and a handmade, wood-fired brick kiln in her backyard. Following her death in 1990, her studio pottery passed to her daughter, and following the daughter’s death, to her granddaughter. This piece of glazed earthenware is part of a collection of 15 functional and decorative ceramic items donated by Viola’s granddaughter to the collection in 2024.A handmade dish, expertly potted and glazed. The style is representative of Australian ceramic design of the period, particularly that employed by Klytie Pate.Hand thrown earthenware dish, covered with a chocolate brown glaze into which a design on the cavetto and well has been incised. The cavetto has a design of four groups of joined semicircles filled with horizontal and vertical lines. The well includes an abstract representation of a flower. The signed, finely shaped foot and rim are glazed in cream with the artist's signature incised on the base. Signature to base: "V. Ayling"ceramics, pakington street -- kew (vic.), dishes, viola annie ayling, viola annie mcvicars

Viola Annie McVicars (1911–1990) was born in Korumburra on 29 April 1911. At the age of 21, she married William John Ayling (1909–1995). After their marriage in 1932, they moved to Kew, initially to 81 Tennyson Street, and later to 180 Pakington Street. A professional tailoress, Viola Ayling was also a talented amateur potter, creating her ceramics at her home in Pakington Street, where she had an internal studio and a handmade, wood-fired brick kiln in her backyard. Following her death in 1990, her studio pottery passed to her daughter, and following the daughter’s death, to her granddaughter. This piece of glazed earthenware is part of a collection of 15 functional and decorative ceramic items donated by Viola’s granddaughter to the collection in 2024.A handmade dish, expertly potted and glazed. The style is representative of Australian ceramic design of the period, particularly that employed by Klytie Pate.A large, eathernware dish, with a maroon ground and a mottled green and black glaze on the inside of the dish. The petals that form the floral design on the base are highlighted in a pink glaze. Each petal overlaps the rim. The artist's signature is on the base. Signature to base: "V. Ayling"ceramics, pakington street -- kew (vic.), dishes, viola annie mcvicars, viola annie ayling

Viola Annie McVicars (1911–1990) was born in Korumburra on 29 April 1911. At the age of 21, she married William John Ayling (1909–1995). After their marriage in 1932, they moved to Kew, initially to 81 Tennyson Street, and later to 180 Pakington Street. A professional tailoress, Viola Ayling was also a talented amateur potter, creating her ceramics at her home in Pakington Street, where she had an internal studio and a handmade, wood-fired brick kiln in her backyard. Following her death in 1990, her studio pottery passed to her daughter, and following the daughter’s death, to her granddaughter. This piece of glazed earthenware is part of a collection of 15 functional and decorative ceramic items donated by Viola’s granddaughter to the collection in 2024.A handmade container, expertly potted and glazed. The style is representative of Australian ceramic design of the period, particularly that employed by Klytie Pate.Handmade, initially thrown lidded container, with applied decorative coils as decorative elements. The pot has a vibrant yellow glazed ground with highlighting in green glaze. The underneath of the separate lid continues the circular design with an incised spiral design. The base is signed with the signature of the artist.Signature to base: "V. Ayling"ceramics, pakington street -- kew (vic.), containers, viola annie mcvicars, viola annie ayling

Viola Annie McVicars (1911–1990) was born in Korumburra on 29 April 1911. At the age of 21, she married William John Ayling (1909–1995). After their marriage in 1932, they moved to Kew, initially to 81 Tennyson Street, and later to 180 Pakington Street. A professional tailoress, Viola Ayling was also a talented amateur potter, creating her ceramics at her home in Pakington Street, where she had an internal studio and a handmade, wood-fired brick kiln in her backyard. Following her death in 1990, her studio pottery passed to her daughter, and following the daughter’s death, to her granddaughter. This piece of glazed earthenware is part of a collection of 15 functional and decorative ceramic items donated by Viola’s granddaughter to the collection in 2024.A handmade dish, expertly potted and glazed. The style is representative of Australian ceramic design of the period, particularly that employed by Klytie Pate.Hand built deep dish, glazed in maroon and green. The maroon ground includes a splash of green in the centre of the dish. This is the only ceramic piece in the collection that is both signed and dated.Signature to base: "V. Ayling / 1954"ceramics, pakington street -- kew (vic.), dishes, viola annie ayling, viola annie mcvicars

Viola Annie McVicars (1911–1990) was born in Korumburra on 29 April 1911. At the age of 21, she married William John Ayling (1909–1995). After their marriage in 1932, they moved to Kew, initially to 81 Tennyson Street, and later to 180 Pakington Street. A professional tailoress, Viola Ayling was also a talented amateur potter, creating her ceramics at her home in Pakington Street, where she had an internal studio and a handmade, wood-fired brick kiln in her backyard. Following her death in 1990, her studio pottery passed to her daughter, and following the daughter’s death, to her granddaughter. This piece of glazed earthenware is part of a collection of 15 functional and decorative ceramic items donated by Viola’s granddaughter to the collection in 2024.A handmade lamp base, expertly potted and glazed. The style is representative of Australian ceramic design of the period, particularly that employed by Klytie Pate.Handmade lamp base, irregularly ridged with applied green and yellow glazes. The lamp base has a hole for a cord above the foot.Signature to base: "V. Ayling"ceramics, pakington street -- kew (vic.), lamp bases, viola annie ayling, viola annie mcvicars

The Correspondent for The Argus on 10 May 1901 described the opening on 9 May as: "The Parliament of the Commonwealth was opened yesterday by the Duke, of Cornwall and York, under a Commission signed by Queen Victoria and subsequently endorsed by King Edward VII. The ceremony was marked by the splendour and solemn impressiveness which befitted its historic importance. An immense assemblage of spectators, drawn mainly, of course, from this state, but in part also from each of the other federated states, and including representatives of other portions of the British Empire and of foreign powers, thronged the spacious, stately, and joyously decorated edifice. The picture was magnificent. It must have printed itself indelibly on the sensitive minds of the thousands of Australians who were privileged to behold it. We may assume that artists will reproduce it in worthy and imperishable forms, and that from generation to generation it will be familiar in the households of the Commonwealth. Our children's children, we may gladly say to-day, will not be ashamed of the function which inaugurated the self-governing rights of the southern British Nation. Nothing was omitted which could add to the grandeur and significance of the occasion. In a broad sense the proceedings were perfectly intelligible to the vast and sympathetic gathering, though the natural limits of a single human voice had to be accepted. The King's son, with his consort and the Governor-General and Lady Hopetoun by his side, and supported by the Governors of the states and other eminent personages, fulfilled his doubly-attested Commission with a simple dignity and a modest manliness altogether admirable. The ceremony was a brilliant spectacle, and, in its sentiment and suggestiveness, an inspiration to a loyal and patriotic people."The document design has artistic and aesthetic merit. While it is not rare, it is representative of the kinds of formal designs used for the Australian Commonwealth celebrations at the time of Federation, and is in excellent condition. Such items as this invitation have local, state and national historic significance as mementoes of a key moment in Australia's history. Locally, the invitation is part of a group of Federation-related items issued to James Maitland Campbell (and his wife). Campbell was three times mayor of Kew in the second half of the 19th Century and the owner of Ramornie in Pakington Street, one of the significant extant mansions in Kew.A colour lithograph mounted on card which is an invitation to the Opening of the First Commonwealth Parliament of Australia, 9 May 1901. The invitation was sent to Mr J.M. & Mrs Campbell. John Longstaff and Norman Lindsay’s design for the invitation includes symbolic female figures and coats of arms of the British and Australian Commonwealth. The central figure represents Justice. At her feet a crown and sceptre are laid, ‘to denote that the monarch will always acquiesce in laws passed by Parliament, provided they are just.’ On the left appears a figure of Britannia, above the royal coat of arms and in front of the white cliffs of England; on the right is a female figure representing Australia, with one hand out-stretched and above the Australian Coat of Arms. Behind her is a pastoral scene; she stands beneath a gum tree. At the top is a border of waratahs; on the left is a border of oak. The six states are represented in shields at the bottom of the card.Front, printed. gold ink: "Opening of the Parliament of the Commonwealth By his Royal Highness The Duke of Cornwall and York / The Government of Victoria requests the honour of the presence of / Mr. J . M. and Mrs. Campbell (handwritten / At the Celebrations in Melbourne in connection with the Opening of the Parliament of the Commonwealth of Australia."parliament of australia -- 1901, royal exhibition building -- melbourne (vic), james maitland campbell

The Vicarage at Holy Trinity Church in Kew faces Pakington Street. It was designed by the architect Charles Vickers. Th building has been 'restored' at various stages in the 20th century.Born digital image of the facade of the bluestone vicarage in Pakington Street (Kew), designed by Charles Vickers. holy trinity church - kew (vic), churches - vicarages - kew (vic), charles vickers

The exact dates in which the Kew Floral, Industrial and Arts Society flourished is unclear. We do know however that it was part of a more widespread series of competitions involving 'juveniles' from church Sunday schools in the 1880s and 1890s. The newspaper article which is part of this collection of documents, while undated, states that the exhibition grew out of the activities of the Congregational Church Sunday School in Walpole Street, Kew (Vic)The items in the Amy Grigg collection, including awards, items of appliqué and embroideries etc reveal much about the artistic and social activities in a suburb like Kew in the late 1880s.Five certificates awarded to Amy Grigg of Pakington Street Kew in competition for prizes awarded by the Society. The certificates are stored in the 'Kew Floral, Indutrial & Art Society' archive file with other items relating to Amy Watson (née Grigg) the mother of Joy Ivory. A supporting document, a newspaper article from 1889, accompanies the documents.Variousamy grigg, mrs albert watson, joy ivory

A photographic print of a postcard depicting a major church in Kew.Holy Trinity Church, Kew, ca. 1920-54. Reproduction of a Rose Stereograph Co. postcard in the State Library of Victoria. The reproduction is without the original printed inscription at base which reads "The Rose Series P. 13058 Holy Trinity Church, Kew, Vic." Annotation in pencil on reverse: "KH-4. Holy Trinity Church of England Cnr. High St and Pakington St Kew."holy trinity church -- kew (vic.), churches -- kew (vic.), high street -- kew (vic.)

Kennedy and sons, Roselea Dairy operated in Kew (<1930-1945>). In 1945 Thomas Kennedy, Michael Kennedy and Patrick John Kennedy traded as Kennedy and sons, Roselea Dairy at 80 Pakington St, Kew. (Victorian Government, 07 December 1945). Tom Kennedy, Jnr, and his wife, Lucy, lived at 109 Pakington St Kew. Tom Kennedy Jnr. died 02 November 1963. Lucy Kennedy died 28 November 1987. "CONTEMPT OF COURT. MILK-CARTER GUILTY. Breach of an Injunction. A Supreme Court writ has been issued by Thomas Kennedy, sen., Thomas Kennedy, jun., Patrick John Kennedy, and Michael Kennedy, trading as Kennedy and Sons, Rose Lea Dairy, against Gordon Allberry Shepherdly, of Barnard street, North Kew, milk-carter, claiming an injunction and damages. Plaintiffs carry on business at Pakington street. Kew, and Melville street, Hawthorn, and they claim In their writ an injunction restraining the defendant from soliciting or endeavouring to obtain the custom of people who were customers of plaintiffs when Shepherdly was employed by them under an agreement dated March 13 1928. Plaintiffs also claim damages. Mr Read (instructed by Messrs. Moule, Hamilton, and Derham) appeared for plaintiffs before Mr. Justice Macfarlan in the Practice Court yesterday, to ask for an order for the committal of Shepherdly to prison, or alternatively, for an order that plaintiffs be at liberty to Issue a writ of attachment against him for contempt of court in soliciting or endeavouring to obtain the custom of plaintiffs' customers. The affidavits set out that Shepherdly was employed by plaintiffs from March I3, 1928. until June 6. 1930. An Interlocutory injunction had been granted pending trial of the action for a permanent injunction. Shepherdly, who appeared in person yesterday, said that he had a sick wife and two children. He had not served any of the customers referred to since the granting of the injunction. He had passed them over to another man for whom he was working. Mr Justice Macfarlan - In doing that you have committed a breach of the injunction, and I have no alternative but to order that you be sent to gaol. I will make an order that you be committed to prison until further order of the Court. I will direct, however, that the order be not executed until Tuesday next. If you can then satisfy the Court that you have ceased to serve, or take any part in serving, the customers of Kennedy and Sons, the order will not be executed. (The Argus, 11 July 1930) Rare, if damaged milk bottle from an historic Kew dairyMilk bottle produced for and retailed by Kennedy & Sons Kew. The dairy operated under various names, and at one stage was described as the Rose Lea Dairy. The dairy was situated on the corner of Eglinton and Pakington Streets, Kew. "Kennedy & Sons / Kew / Nursery Milk / This bottle is the property of T.Kennedy & Sons, Kew/ and cannot be legally used by others."kennedy's dairy, kennedy and sons, dairies - kew (vic), milk bottles - kew - melbourne - victoria, thomas kennedy, michael kennedy

Henry Christian (c.1809-91), the grandfather of the photographer, was one of the first settlers in Kew. He arrived in Victoria with his wife Agnes and son Orlando in 1855 on the Gypsy Queen. He established a rope-making business in Bulleen Road by 1858 but was declared insolvent two years later. In his final years, he was celebrated as one of the oldest living settlers of the district. His son, Orlando Henry Beater Christian (c.1853-1930) became a member of the Hawthorn Band and a foundation member of the Willsmere Swimming Club. Orlando and his wife Elizabeth had four children of which Henry Beater Christian (1886-1962) was the oldest.An album of photographs, compiled by Henry Beater Christian (1886-1962) of Pakington Street, Kew, depicting individuals, natural and settled environments and the interactions between these worlds. Henry Christian, was a keen explorer, not just of his immediate environment but also of the Victorian wilderness. His major opus is contained in two albums in which he records, sometimes in majestic detail and on other occasions the intimate features of the natural world. His photographic travels during the 1920s, often in solitary ramblings but on other occasions with companions, recall the heroic landscape photography of an earlier era, pioneered by Nicholas Caire. In addition to their aesthetic value, the albums are historically significant records within the State of Victoria, of what is now a distant point in time, and of places that have become radically altered through human intervention.Digital copy of a 47-page photograph album containing 255 gelatinous silver images, loaned by Diane Washfold with permission given to digitise and hold a copy in our collection. The album contains a groups of photographic positives taken by Henry B Christian (a resident of Pakington Street), of places in Kew and throughout regional Victoria during the 1920s. The mainly sepia photographs, while small, are of a high resolution. Photographs are typically lightly glued onto pages. Locations are frequently identified by white or black ink, which in a number of cases is illegible due to wear.henry beater christian (1886-1962), landscape photography, photograph albums, kew (vic.) — yarra river, kew (vic.) — zig-zag bridge, kew (vic.) — macauley’s boathouse, studley park (vic.) — yarra river, wonderland — grampians (vic.), black spur (vic.), marysville (vic.), maroondah dam (vic.) — construction, warburton (vic.), cockatoo (vic.), bruthen (vic.), swan reach road (vic.), glen hills (vic.), lightning creek (vic.), omeo (vic.), glen wills (vic.), mt wills (vic.), sunnyside (vic), granite flat (vic.), toolangi (vic.), yea (vic, )., flowerdale (vic.), mt white law (vic.), baw baw (vic.), christian-washfold collection