Colour photographs. (1) Herbaceous Border 1984-5 (pre-Rainforest) #277. (2) View Admin Building from between Emily Gibson Beds. (3) Admin Building. (4) View of Bull Paddock, Dairy and beyond from roof of Admin Building. (5) Rear of Burnley. Tennis Court replaced by PSL 4-6 (DA) (6) Shady Walk Mondograss (Ophiopogon japonicus) Umbrella Grass (Cyperus alternifolius) (David Aldous). (7) Admin Building and Student Amenities Building. (8-10) Luffmann Ponds. (11) Frank's/Rock Point. (12-13) Oak Lawn. (14) Oak Tree lawn on reverse "Please return to Stuart Miller, Burnley College." (15) E. cladocalyx. (16) The Victorian College of Agriculture & Horticulture-Burnley Campus. U. procera to the left E. cladocalyx to the right DA. (17) Sugar Gum E. cladocalyx Burnley Gardens 1989 DA. (18) Burnley College in background DA Crack Willow in winter. (19) Tree unidentified. DA (20) DA View of trees behind Luffmann Ponds. (21) View of Burnley Gardens Pinus canariensis to the left Agathis robusta centre and sequoia sempervirens to the right DA. (22) Students in Citriodora Courtyard. (23) View of Emily Gibson Beds from roof of Admin Building. (24) Admin Building from Oak lawn. Annotated by David Aldous and Stuart Miller. herbaceous border, administration building, emily gibson beds, bull paddock, dairy, tennis court, shady walk, luffmann ponds, oak lawn, david aldous, stuart miller, student amenities building, sugar gum, citriodora courtyard, lily ponds

Photograph shows cable tram 509 trailer complete loaded onto a tray truck being transported to a new home. Truck operated by T Warr & Co. of Collins St Melbourne. Item no. 8289 Notes on cable cars by Frank Shennen, records that the car was at North Melbourne depot and that he had a photo of it being transported to Lorne. The Howard St depot or (North Melbourne) closed in June 1935.Yields information about the the sale of cable trams and their transport to Lorne.Black and white photograph with notes on the rear.Has publication markings in pencil and in ink"The new takes away the old, but it still has a use" and in pencil "9" in the top right hand corner.tramways, cable trams, transport, sale of trams, tram 509

Photograph shows car 586 in Queens Parade, Clifton Hill with the rail line and over bridge in the background. The grip mechanism has been lifted. The tram has the destination of Spencer St. Same handwriting as that of Frank Shennen though it may not be his photograph. Yields information about Clifton Hill cable tram depot and tram 586.Black and white photograph with notes on the rear.On rear in pencil "Car 586, possibly at Clifton Hill." Has the number "179" in pencil in top right-hand corner.tramways, cable trams, clifton hill, tram 586, clifton hill depot

Photograph shows an internal view of the Clifton Hill car house or depot, with trailers 499 and 235. Photo by Frank Shennen 26-2-1941.Yields information about Clifton Hill cable tram depot.Black and white photograph with notes on the rear.On rear in pencil "Inside Clifton Hill car shed on 26-2-1941 where cars are being stored after buses took over services. Another 6 cars are at Northcote depot. Trailers 499 and 235 near camera." Has the number "2" in pencil in top right hand corner.tramways, cable trams, clifton hill, interior, clifton hill cable tram depot, tram 499, tram 235

Photograph shows an internal view of the Clifton Hill car house or depot, with trailers 499 and 235. Photo by Frank Shennen 26-2-1941.Yields information about Clifton Hill cable tram depot and tram 583.Black and white photograph with notes on the rear.On rear in pencil "cable car trailer in yard outside Clifton Hill cable sheds after withdrawal from service for buses. Take FOS 26/2/41." Has the number "152" in pencil in top right-hand corner.tramways, cable trams, clifton hill, interior, clifton hill cable tram depot, tram 583

William Balfour Ker was a Canadian-American artist. He was also a declared socialist, and his political stance was often reflected in his art. This lithograph is a compelling illustration of the race against time sometimes faced by doctors when trying to get to a patient to assist in birth before the baby is born.A black and white lithograph. At top right, a stork is flying through the air, with a baby bundled in a cloth that it is holding in its beak. To the left, a horse drawn buggy follows rapidly behind, with the driver wielding a whip and urging on a speeding white horse. The artist's signature printed at bottom right corner of image reads 'WM.BALFOUR-KER'. The lithograph has been mounted and framed in wooden frame. The outer edge of the frame is black, and the inner edge is gold. On the back of the object, a small piece of paper bearing the title of the lithograph has been attached at bottom centre. It reads 'A HURRY CALL, THE DOCTOR v THE STORK'. A second tag attached to the back of the work reads 'From FF', suggesting the donor of this object was Frank Forster. An old display label is attached to the bottom left of the back of the work. A wire and two hooks have been attached to the back of the frame for hanging.obstetric delivery

253 p.; 25 cmnon-fictionThere is no other store like David Jones... and there is no other consultant like Sheila Scotter! Known variously as the Kangaroo editor (by Diana Vreeland), the black and white lady from Albert Park, and the Silver Duchess, this is the autobiography, scrapbook-style, of one of Australia's doyennes of style. For Sheila Scotter's seventeenth birthday her parents put on a 'coming out ball' in the United Services Club in Calcutta, where they lived at the time. The teenager wore a pale turquoise silk taffeta ball gown. Sheila no longer remembers what happened to that dress, but she does know that it is responsible for the black-and-white wardrobe that has been her hallmark ever since, with the exception of one occasion and one occasion only. For her seventieth birthday party, close friend John Truscott conned her into wearing red, insisting that the theme for the event was all red. And what did the guests all wear? Black and white! This anecdote lite, stylish, idiosyncratic is typical of the many that make up Sheila Scotter's autobiographical assortment. Most Australian women know Sheila Scotter through her Women's Weekly column 'Sheila Scotter Suggests' which ran between 1975 and 1980 and totalled some 235 instalments. The fact that this column is still vividly remembered 17 years later attests to the sacred place it held in every Australian household. A feminist before the word was invented, Sheila has had a formidable career. Two chapters are devoted to her career in fashion, including her time as the editor-in-chief of Vogue and founding editor of Vogue Living. The art of fundraising is also treated in some depth. In snippets, we hear of her love of cricket (which she once played); we find out how she came to live in Australia in the first place and why she has made Melbourne her home. Not surprisingly, the book reflects the personal contradictoriness of its author/subject on the one hand an aristocrat, on the other a rogue who does not respect rank; blithely mixing innate feminism with blatant coquettishness; outrageous yet scrupulously stylish; in the know yet discrete; courting notoriety while at the same time needing solitude a Like all celebrity autobiographers Sheila reserves her right to privacy while basking in the limelight. But she has used this book to set the record straight on a number of issues, including why she left Vogue, her many romantic involvements, her much-publicised spat with socialite Lillian Frank, and what was wrong with David Jones, to whom she consulted during 1994-95. The book contains the expected wining, dining and partying, as well as the inside story on some recent scandals. Sheila Scotter is glamorous and alluring, a forthright mover and shaker who inspires fear in some, awe and respect in others, and admiration and loyalty in most. No matter what you think of her, you simply cannot ignore her. Friends and enemies alike are awaiting this book with bated breath for one reason: when Sheila Scotter speaks, people listen. Contents Foreword (by Ruth Cracknell, a personal friend) Before I Begin a (explaining the rationale for the book) 1 Thursday's Child (birthdays) 2 Christmases to Remember 3 In Fashion (career in fashion) 4 A Matter of Style (Vogue Living and its influence) 5 Marriage and Other Liaisons 6 A Mixed Salad of Letters (letters, personal and business, from prominent people) 7 Fundraising: Are Committees Really Necessary? 8 Loved Ones Departed (or Why I Envy the Angels) 9 Disappointments and Other Disasters (scandals and inside stories) 10 London, Paris, Sydney, Melbourne (the places she has lived) 11 Not the Last Instalment (a look ahead) Postscript (a tribute to some special men read between the lines) Source: Publishersheila scotter, fashion

The former Kew Town Hall was used for an Op Shop for a number of years before it was demolished for a supermarket.City of Kew Councillors at the last Meeting in the Kew Town Hall, Walpole Street. Left to right going around the table: Cr Dick Cremin, Cr Ivan Wade, Cr Dorothy Buchanan, Cr Jack Ryan, Cr George McKenzie , Cr Gerard Petrie, Cr Jack Gervasoni, behind these councillors sits Brian Robinson, Laurie Johnson (Town Clerk), Cr Leo Hawkins (Mayor), George Russell (City Engineer) , ?, ?, Cr Gladys "Bon" Fink, [possible Cr Percival "Percy" Watts?]' Cr Phyllis Hore, [Possibly Cr Frank O'Brien?], Cr Alan Hutchisoncity of kew, councillors, kew town hall, dick cremin, ivan wade, jack ryan, gerrie petrie, jack gervasoni, john hogan gervasoni, alan hutchinson, gerard petrie, jack ryan, george mckenzie, brian robinson, laurie johnson, leo hawkins, george russell, gladys "bon" fink, bon fink, percival watts, phyllis hore, frank o'brien