The black imitation leather or leatherette bag or pouch could have been used by a courier to transfer documents, letters or business records between offices or from business to customer. Imitation leather was invented in the late 1800s and improved as time went on. The manufacture of synthetic leather began around the 1930s. The courier bag may have been used for a s similar purpose as the cash bags in our collection. Those cash bags transported money between the railway stations of Grassdale and Merino in Victoria's western district in the late 19th and early-to-mid 20th centuries. Perhaps the bag was used by the coastal trading vessels that operated in southwest Victoria until around the 1940s.This courier bag is an example of the connections made between people in the remote areas of Victoria. It could have been used by the railway system or the coastal trader vessels that shipped people, goods, documents and cash between the districts in western Victoria.Courier bag; black imitation leather pouch, square with wide seams and a flap with sttud closure at the top. Made by British Products Pty Ltd. "British Products Pty Ltd"warrnambool, shipwreck coast, flagstaff hill, flagstaff hill maritime museum, flagstaff hill maritime village, bag, pouch, imitation leather, artificial leather, faux leather, synthetic leather, british products pty ltd, document pouch, courier bag, western district, western victoria, 19th century, 20th century, railway, rural business, rural trade, coastal trader, southwest victoria

Printed as a specific accounting Journal by the SECV for use in its offices to record the use of the Franking Machine or Postage Machine. The machine would be preloaded with a value at the post office after a cheque for 25 pounds was presented and then used to send out accounts, and letters from the mail room. Used when all power invoices were mailed to customers. Also records the use of stamps. Has the initials of the person who would audit or check the monthly entries. Used in the days when stamps were considered a valuable commodity and to stop pilfering. See item 5639 for a franked envelope sent from the SECV's Ballarat office to Wal Jack.Demonstrates record keeping of a franking machine record used in the SECV Ballarat office during the late 1930s and early 1940s.Printed as an accounting journal with heavy card covers, approx 50 pages, ruled in red and blue ink, completed in black ink. The journal is titled "Tranking Machine Record" in a gold block. Has marbled endpapers, sewn sections, and fawn colour cotton sheet cover with leather edge binding and corners with a decorative finish. Contains entries for each reloading of the franking machine - approx once a month depending on use.accounting, secv, postage stamps, mails

Newspaper clipping from the The News, Ballarat of 24/8/1983 about the opening of the new SEC Norman St. depot by the Minister for Minerals and Energy, Mr. David White, the previous Friday. Has photograph of the SEC General Manger (Rowan Weatherhead), the Minister and Acting Manger mid-western division (Neville Morris) of the official opening of the depot. Item covers the history of the power supply in Ballarat, the tramways, power distribution, number of customers. Second photo is of the group of Ballarat conductresses. Also covers the proposed consolidation of the SEC offices to Norman St and the eventual closure of the Wendouree Parade office. See Reg item No. 239trams, tramways, secv, ballarat power supply, wendouree parade, norman st

The item is a soft cover book recording factory orders of T.J. Connolly, Ironmongers, Sandhurst. Each handwritten page records the customer orders by date, name and goods supplied. There is group of loose pages in the front of the book with watermarked spine edges. The soft cardboard cover is navy blue with some wearing at the corners. A paper rectangle is stuck to the front cover on which is stamped "Factory Orders" and handwritten with the dates. The pages are bound together with string. The book includes the date range of 23 December 1897 to 22 April 1899. All pages have been used. This item is part of the Margaret Roberts Collection.A paper rectangle is stuck to the front cover on which is stamped "Factory Orders" and handwriting of "From dec 23rd 1897 to April 22nd 1899".margaret roberts collection, ironmongers, forest street, bendigo businesses

.1 - Report - 24 pages + card cover, printed in full colour on gloss paper, centre stapled landscape format titled "Metlink 2007 in review" with table of contents, including message from CEO Bernie Carolan, provides details about the bodies activities, campaigns, events, fare evasion, the public transport challenge, celebrity Metcards, marketing and customer services. .2 - Report - 42 pages + card cover, printed in full colour on semi gloss paper, centre stapled, portrait format titled "Metlink Annual Review 2008" as above, but with details of Southern Cross station, website and Geelong stations - includes VLine.trams, tramways, metlink, annual reports, reports, melbourne, connex, yarra trams, buses, metcard, vline

1074.1 - Book or Manual, 20 pages + 6 "PTC Customer Services Revenue Maximisation" form + green card covers bound with a black plastic comb binder - titled "Ticket Checker's Manual - Met Ticket System". or ticketing manual. Has PTC and railway photo on front cover. Gives procedures, concession fares, Met Fare zones, colour coding of tickets, samples of tickets, including a used scratch card ticket (2 hour zone 2 concession) and a number of other tickets which have been stamped cancelled. Would appear that used tickets have been recycled for the publication, also has reproductions of concession cards. On page 19 gives information on free travel for police in uniform and conditions for bicycles, surfboards, prams etc, seeing eye dogs, pets and V/Line tickets. 1074.2 - 21 pages + 9 "PTC Customer Services Revenue Maximisation" form, yellow card covers bound with a black plastic comb binder - titled "Ticket Checker's Manual - Section 1 General Information", Section II, The Met, Section III Concession Cards - has a number of blank pages. Very similar to .1 with sample tickets glued in. 1074.3 - 30 pages, 10 duplicate sheets - "Ticket Checkers' Manual" - Met Ticket system, similar to other issues, has tickets stamped 1993, includes scratch tickets, and concession cards..1 - has "11271 Rev Max Number" written in ink on the top of the first page.trams, tramways, the met, scratch tickets, tickets, manual, concession fares

This item has been issued by the licensed grocery business of K.M.Lynch Pty. Ltd., once situated in Fairy Street Warrnambool. It dates from the late 1950s or 60s. The wine and spirits store in Fairy Street was established by Giffen Russell in 1878 and Harry Lynch took over the business in the 1930s. Harry Lynch died in 1953 and Kelvin Matthew Lynch became the proprietor, with the store known as K.M. Lynch Pty Ltd during the second half of the 20th century and the early 21st century. The business closed in the second decade of the 21st century. The item would have been used as a promotional tool, a useful household item given to the Lynch store regular customers and business associates. This item is retained as an example of a promotional object issued by a Warrnambool business in the second half of the 20th century..1 A thermometer mounted on a piece of wood by metal clips. The wood is painted yellow on the front and sides and has black lines and markings. .2 A cardboard box to hold the thermometer. K.M. Lynch Pty Ltd Licensed Grocer Warrnambool Phone 3939k.m. lynch, licensed grocer, warrnambool, household goods

On Tuesday 28th September 1937, to the applause and cheering of a crowd of more than 300 people, a ceremonial ribbon was cut with a ‘beautiful pair of silver scissors’ by Mrs W H Everard, wife of local MP William Everard. The ribbon cutting ceremony was to officially turn on the mains electricity supply to Whittlesea and district. The moment the ribbon was cut there was a ‘blaze of light’. There were initially 78 customers, including the Shire of Whittlesea which had contracted the SEC to supply street lighting in Whittlesea, Yan Yean, Mernda and South Morang (Advertiser, Friday 1st October 1937, page 1). This ribbon is possibly a fragment of the official opening ribbon that was stamped with the date and details of the switching on of electricity in Whittlesea and given to patrons. Commemorative Ribbons. Silk ribbon, white, stamped with details commemorating the switching on of electricity in Whittlesea on 28 September 1937.Whittlesea / 28 Sep 1937 / Electric Light / Official Switching on / Ceremony electricy supply, w h everard, whittlesea district

Newspaper article titled Long Gully's New Post Office. Photo shows a number of people and some children standing in front of the brick building. One man on the left is holding a suitcase. Mrs T Paynting received the key from the secretary of the Long Gully Progress Association (Mr W S Cox). She opened the door and was the first customer. Other people in the photo include Mr A G Perritt, district postal inspector and the postmaster Mr S Dawson. Date written above photo 18/2/47. The Advertiser Photo Service. Article is mounted on yellow card which is mounted on purple card and laminated.bendigo, history, long gully history group, the long gully history group - long gully's new post office, the advertiser, mrs t paynting, long gully progress association, mr w s cox, mr a g perritt, mr s dawson

Black and white photograph of a coach building business. Note the number of workers involved in the manufacture of the different styles required by customers. To the right of photo there are a number of workers using machines to manufacture the different body parts that are required. One cart to left of photo appears to be the finished product. Centre top there is a cantilever structure with bodywork stacked on top and a number of wheels, large and small, hanging from the side. There are also a number of wheels hanging from posts of the building framework. Note the differing clothing styles of the workers from shirt, trousers and apron, to hats shirts, waistcoats, trousers. Differing stages of construction have bodies on tables, wooden frameworks, boxes and wooden horses.industries

The item is a soft cover book recording factory orders of T.J. Connolly, Ironmongers, Sandhurst. Each handwritten page records the customer orders by date, name and goods supplied. The soft cardboard cover is navy blue with considerable wearing to the bottom right hand side corner, water damage to the top left hand corner and stains on the front and back. A paper rectangle is stuck to the front cover on which was stamped "Factory Order Book" but much of it is missing. The pages are bound together with string. The book includes the date range of October 1896 to December 1897. All pages have been used. This item is part of the Margaret Roberts Collection.A paper rectangle is stuck to the front cover on which is stamped "Factory Order Book". The left hand side and some of the top and bottom has been torn away. margaret roberts collection, ironmongers, forest street, bendigo businesses

This pencil was used as an advertising medium for the Warrnambool firm of Archie Graham and Sons. It was given to customers of the firm. Archie Graham (1906-1992) commenced a building business in Warrnambool in the 1930s and was well-known for his many building projects in the city and his innovation in the industry. Archie Graham was a prominent member of the Uniting Church and a tireless worker in community affairs in Warrnambool for sixty years. He planned and organized the street decorations for the Warrnambool Centenary in 1947, was chairman of the committee that developed Albert Park and the Reid Oval and was active in Rotary Club and Cricket Club affairs. He was also a member of the Warrnambool Technical School Council. Today the building in Timor Street for senior citizens and other community use is named after Archie Graham. This pencil is of interest as a memento of the type of complimentary article given to customers of businesses in Warrnambool in the mid 20th century. It is also a memento of Archie Graham, an important businessman and community worker in Warrnambool in the 20th century. This is a large six-sided wooden pencil sharpened at one end. The pencil is painted green with a white band near the top and a black-colored end rounded at the top. The paint on the pencil is slightly chipped. The inside of the pencil contains graphite for writing or drawing. The business name on the side of the pencil is inscribed in gold lettering. ‘With Compliments ARCHIE GRAHAM & SONS WARRNAMBOOL – 4422’ archie graham, warrnambool, history of warrnambool

This docket book has been used to enter sales from the Cramond and Dickson department store in Warrnambool and to provide the customer with a copy of the invoice. It dates from about the 1960s. John Cramond and James Dickson, two pioneer settlers in Warrnambool, established the Carmond and Dickson store in Warrnambool in 1855, initially selling groceries, drapery and ironmongery but later, at the corner of Liebig and Timor Streets, this department store sold mainly clothing and drapery. In the 1860s a Cramond and Dickson store was opened in London. The Cramond and Dickson store, a most important business in Warrnambool, operated until 1973. The docket book was printed by Lamson Paragon, a British firm that was established in Australia in 1897 and specialized in printing sales docket books with a carbon paper insert.This docket book is of interest as a memento of the Cramond and Dickson Store, one of the most significant businesses ever to have operated in WarrnamboolThis is a docket book containing 46 pages of white printed sheets bound with green tape and enclosed in a green patterned paper cover on the front and a piece of cardboard on the back. The pages have ruled black lines, red and black print and an image in red of a building. Some of the pages have been used and removed. At the front of the pages are two sheets of carbon paper and tissue paper for copying purposes.Cramond & Dickson General Drapers and Importers Warrnambool 3280 Lamson Paragoncramond & dickson warrnambool, john cramond warrnambool, james dickson warrnambool, warrnambool businesses, lamson paragon printing firm

The Salisbury Clock Tower was built in memory of Arabella Roberts who died on 23 January 1892. The firm Smith of Derby installed the illuminated clock mechanism with four faces and was still responsible for maintenance when, in December 1970, it replaced the original gravity mechanism with a more modern movement. The original clock mechanism was sold to a customer in Providence, USA. In 1997, the new mechanism was completely refurbished and updated to include automatic adjustment for British Summer Time. At the same time the tower itself was restored, the main contractors for this work being R. Moulding and Co of South Newton. Smith of Derby continues to be responsible for maintaining the clock, and so this firm has now been providing a service to the City for over 100 years. Sepia photographic postcard depicting a bridge and road lined with buildings and a clock tower in Salisbury, Wiltshire, England.salisbury, clock tower, chatham-holmes family collection, carriage, bridge

At the beginning of the 1890s, the Kew businessman and Town Councillor, Henry Kellett, commissioned J.F.C. Farquhar to photograph scenes of Kew. These scenes included panoramas as well as pastoral scenes. The resulting set of twelve photographs was assembled in an album, Kew Where We Live, from which customers could select images for purchase.The preamble to the album describes that the photographs used the ‘argentic bromide’ process, now more commonly known as the gelatine silver process. This form of dry plate photography allowed for the negatives to be kept for weeks before processing, hence its value in landscape photography. The resulting images were considered to be finely grained and everlasting. Evidence of the success of Henry Kellett’s venture can be seen today, in that some of the photographs are held in national collections.It is believed that the Kew Historical Society’s copy of the Kellett album is unique and that the photographs in the book were the first copies taken from the original plates. It is the first and most important series of images produced about Kew. The individual images have proved essential in identifying buildings and places of heritage value in the district.A panoramic photograph of the junction of High Street and Cotham Road. The photographer centres the point-of-view on the Kew Post Office and adjacent Court House. These were designed in the Queen Anne style by the Public Works Department's architect J Harvey and completed in 1888. The complex is important because it demonstrates a departure from the contemporaneously favoured High Victorian Classical to the Queen Anne style in the design of civic buildings. The earlier Jubilee Fountain in front of the Post Office was erected by the Kew Borough Council to commemorate the Golden Jubilee of Queen Victoria in 1887. It was created to a design of the architects Reed, Henderson and Smart. The fountain was later relocated to the Alexandra Gardens to make way for the Kew War Memorial. The tram tracks in High Street were used by the horse tram, which ran from the Victoria Street Bridge to the Boroondara General Cemetery. The tram was replaced by an electrified service in 1915.The Post Officekew post office, kew illustrated, kew where we live, photographic books, henry kellett

At the beginning of the 1890s, the Kew businessman and Town Councillor, Henry Kellett, commissioned J.F.C. Farquhar to photograph scenes of Kew. These scenes included panoramas as well as pastoral scenes. The resulting set of twelve photographs was assembled in an album, Kew Where We Live, from which customers could select images for purchase.The preamble to the album describes that the photographs used the ‘argentic bromide’ process, now more commonly known as the gelatine silver process. This form of dry plate photography allowed for the negatives to be kept for weeks before processing, hence its value in landscape photography. The resulting images were considered to be finely grained and everlasting. Evidence of the success of Henry Kellett’s venture can be seen today, in that some of the photographs are held in national collections.It is believed that the Kew Historical Society’s copy of the Kellett album is unique and that the photographs in the book were the first copies taken from the original plates. It is the first and most important series of images produced about Kew. The individual images have proved essential in identifying buildings and places of heritage value in the district.In 1891, High Street was the centre of commercial activity in the Borough of Kew. It was unpaved and edged with deep bluestone gutters, which were designed to channel the significant flow of storm water down the hill to and beyond the Junction. On either side of the entrance to the shopping strip are two cast iron gas lamps that provided the only public street lighting before the Post Office was reached. Most shops, including the Nicholas Brothers’ Junction Store featured cast iron verandas. Further up the hill, Dougherty’s Greyhound Hotel was by this stage a local institution. Apart from the horse-drawn tram, the main form of personal and commercial transport in this period remained the horse, horse and cart, or buggy.The panoramic view predates the widening of High Street in the 20th century, and thus includes the original alignment of buildings on the south side. These included Henry Kellett’s shop.High Street, Kewkew illustrated, kew where we live, photographic books, henry kellett, high street - kew (vic)

At the beginning of the 1890s, the Kew businessman and Town Councillor, Henry Kellett, commissioned J.F.C. Farquhar to photograph scenes of Kew. These scenes included panoramas as well as pastoral scenes. The resulting set of twelve photographs was assembled in an album, Kew Where We Live, from which customers could select images for purchase.The preamble to the album describes that the photographs used the ‘argentic bromide’ process, now more commonly known as the gelatine silver process. This form of dry plate photography allowed for the negatives to be kept for weeks before processing, hence its value in landscape photography. The resulting images were considered to be finely grained and everlasting. Evidence of the success of Henry Kellett’s venture can be seen today, in that some of the photographs are held in national collections.It is believed that the Kew Historical Society’s copy of the Kellett album is unique and that the photographs in the book were the first copies taken from the original plates. It is the first and most important series of images produced about Kew. The individual images have proved essential in identifying buildings and places of heritage value in the district.Before true aerial photography became possible, photographers such as J.F.C. Farquhar were compelled to shoot their images from the highest vantage point. Here, it is presumed to be the roof of Xavier College, from which the panoramic view extends west towards the rise of Studley Park. The houses in the foreground face the southern end of Gellibrand Street. Wellington Street is at an angle to the camera with the Queen Street intersection on the near right. The wooden building behind the large horse paddock on the other side of Gellibrand Street is the Kew Recreation Hall, built 1888, demolished 1960. It was reputed to have one of the finest dancing floors in or around Melbourne. The Bowling Green at the rear of the Hall belonged to the Kew Bowling Club. Further west is the Kew Railway Station on Denmark Street, opened to the public in 1887. At this period, much of Studley Park was locked up in large landholdings, dominated by large mansions such as ‘Byram’. Bird's Eye View Looking Westkew illustrated, kew where we live, photographic books, henry kellett, denmark street, kew recreation hall, kew bowling club, wellington street

At the beginning of the 1890s, the Kew businessman and Town Councillor, Henry Kellett, commissioned J.F.C. Farquhar to photograph scenes of Kew. These scenes included panoramas as well as pastoral scenes. The resulting set of twelve photographs was assembled in an album, Kew Where We Live, from which customers could select images for purchase.The preamble to the album describes that the photographs used the ‘argentic bromide’ process, now more commonly known as the gelatine silver process. This form of dry plate photography allowed for the negatives to be kept for weeks before processing, hence its value in landscape photography. The resulting images were considered to be finely grained and everlasting. Evidence of the success of Henry Kellett’s venture can be seen today, in that some of the photographs are held in national collections.It is believed that the Kew Historical Society’s copy of the Kellett album is unique and that the photographs in the book were the first copies taken from the original plates. It is the first and most important series of images produced about Kew. The individual images have proved essential in identifying buildings and places of heritage value in the district.This panoramic view was probably taken from the roof of Xavier College. It invites the viewer to look down on the buildings and streets of Kew, and across to the distant horizon. Mansions and solid bourgeois villas dominate the view of Charles and Wellington Streets. The imposing spires of the Presbyterian and Methodist Churches, built in one of the highest areas of Kew, can be seen in the distance. In the foreground, the photographer includes three significant mansions: Molina, Roxeth and Elsinore. Molina, in the foreground, and the group of weatherboard buildings in its yard was used at this stage for the privately operated ‘Kew High School’ (founded 1872). Roxeth, the home of Herbert Henty can be identified by its distinctive four-sided tower. All three buildings are now part of Trinity Grammar. Other built structures observable in the photograph include Wilton (now the Kew RSL), designed by Guyon Purchas for Dr William Walsh in 1886, and the only known image of the Prospect Hill Hotel prior to the renovation of 1935. Bird's Eye View Looking Northkew illustrated, kew where we live, photographic books, henry kellett

At the beginning of the 1890s, the Kew businessman and Town Councillor, Henry Kellett, commissioned J.F.C. Farquhar to photograph scenes of Kew. These scenes included panoramas as well as pastoral scenes. The resulting set of twelve photographs was assembled in an album, Kew Where We Live, from which customers could select images for purchase.The preamble to the album describes that the photographs used the ‘argentic bromide’ process, now more commonly known as the gelatine silver process. This form of dry plate photography allowed for the negatives to be kept for weeks before processing, hence its value in landscape photography. The resulting images were considered to be finely grained and everlasting. Evidence of the success of Henry Kellett’s venture can be seen today, in that some of the photographs are held in national collections.It is believed that the Kew Historical Society’s copy of the Kellett album is unique and that the photographs in the book were the first copies taken from the original plates. It is the first and most important series of images produced about Kew. The individual images have proved essential in identifying buildings and places of heritage value in the district.Very few of the natural or built features in this panoramic photograph of Wellington Street remain. The open land between High Street South and Denmark Street, then known as O’Shannessy’s Paddock, was to become a residential subdivision at the beginning of the 20th Century. On the far side of Denmark Street, bordered by a picket fence, is the Kew Railway Station (demolished 1957). Further east, the large building with the flagpole is the Kew Recreation Hall (demolished 1960), which was the centre of civic life for almost a century. The building was used for dances, civic functions and exhibitions. A bowling green, tennis courts, and a cricket ground surrounded the Hall. The dominant building in the photograph is Xavier College, founded in 1872 by the Society of Jesus. The first classes for pupils were held in 1878. It is presumed that Farquhar used its roof for two of his bird’s eye views.Wellington Street from High Streetkew illustrated, kew where we live, photographic books, henry kellett

At the beginning of the 1890s, the Kew businessman and Town Councillor, Henry Kellett, commissioned J.F.C. Farquhar to photograph scenes of Kew. These scenes included panoramas as well as pastoral scenes. The resulting set of twelve photographs was assembled in an album, Kew Where We Live, from which customers could select images for purchase.The preamble to the album describes that the photographs used the ‘argentic bromide’ process, now more commonly known as the gelatine silver process. This form of dry plate photography allowed for the negatives to be kept for weeks before processing, hence its value in landscape photography. The resulting images were considered to be finely grained and everlasting. Evidence of the success of Henry Kellett’s venture can be seen today, in that some of the photographs are held in national collections.It is believed that the Kew Historical Society’s copy of the Kellett album is unique and that the photographs in the book were the first copies taken from the original plates. It is the first and most important series of images produced about Kew. The individual images have proved essential in identifying buildings and places of heritage value in the district.In this view of Studley Park Road, looking northeast to the Junction, the photographer invites the viewer to participate in a point-of-view that emphasises the elevated, tranquil vantage point of the hill in contrast to the bustling commercial area in the distance. The view emphasises the exclusiveness of Studley Park, with its high fences behind which a number of significant Kew mansions were concealed. Contemporary advertisements for the sale of mansions in Studley Park Road often included fulsome descriptions of their elaborate formal gardens, as well as paddocks for grazing, stabling and dairies. None can be seen here. The use of high, protective wooden pickets to surround the newly planted avenue of elms on the south side of the road appears to be typical of the period. Similar examples can be seen in early photographs of Wellington and Princess Streets.The horse and carriage, selected as a central focus of the view, reinforces the residential, exclusive nature of this part of Kew in the early 1890s. Studley Park Roadkew illustrated, kew where we live, photographic books, henry kellett

At the beginning of the 1890s, the Kew businessman and Town Councillor, Henry Kellett, commissioned J.F.C. Farquhar to photograph scenes of Kew. These scenes included panoramas as well as pastoral scenes. The resulting set of twelve photographs was assembled in an album, Kew Where We Live, from which customers could select images for purchase.The preamble to the album describes that the photographs used the ‘argentic bromide’ process, now more commonly known as the gelatine silver process. This form of dry plate photography allowed for the negatives to be kept for weeks before processing, hence its value in landscape photography. The resulting images were considered to be finely grained and everlasting. Evidence of the success of Henry Kellett’s venture can be seen today, in that some of the photographs are held in national collections.It is believed that the Kew Historical Society’s copy of the Kellett album is unique and that the photographs in the book were the first copies taken from the original plates. It is the first and most important series of images produced about Kew. The individual images have proved essential in identifying buildings and places of heritage value in the district.This is the earliest known photograph of the exterior of Byram (later Tara Hall). It shows the original red brick fence, its asymmetrical gate and gateposts, with a large terra cotta gargoyle surmounting the higher of the two. The architect, Edward Kilburn designed Byram in the Arts & Crafts style for the industrialist George Ramsden. Construction began in 1888 and was reputed to have lasted three years. The mansion had frontages to Studley Park Road and Stevenson Street, including gardens laid out with great taste, including pleasure grounds, tennis lawn, fruit and flower garden, and paddock. The size of many of the trees in the garden indicate that many survived from the garden of Clifton Villa, the previous single-storeyed house built on the site by the Stevenson brothers. Byram had views to Melbourne and Port Phillip Bay. The house was demolished in 1960, despite opposition from the National Trust (Victoria), and its gardens subdivided into residential allotments.A View in Studley Park Roadkew illustrated, kew where we live, photographic books, henry kellett, byram, tara hall, goathlands

At the beginning of the 1890s, the Kew businessman and Town Councillor, Henry Kellett, commissioned J.F.C. Farquhar to photograph scenes of Kew. These scenes included panoramas as well as pastoral scenes. The resulting set of twelve photographs was assembled in an album, Kew Where We Live, from which customers could select images for purchase.The preamble to the album describes that the photographs used the ‘argentic bromide’ process, now more commonly known as the gelatine silver process. This form of dry plate photography allowed for the negatives to be kept for weeks before processing, hence its value in landscape photography. The resulting images were considered to be finely grained and everlasting. Evidence of the success of Henry Kellett’s venture can be seen today, in that some of the photographs are held in national collections.It is believed that the Kew Historical Society’s copy of the Kellett album is unique and that the photographs in the book were the first copies taken from the original plates. It is the first and most important series of images produced about Kew. The individual images have proved essential in identifying buildings and places of heritage value in the district.Completed in November 1890, the railway viaduct (now the Chandler Highway Bridge) linked Kew and Fairfield. The viaduct is significant as the most substantial extant engineering remnant of the Outer Circle Railway Line. Opened in March 1891, the viaduct crossed the Yarra River in a single span, atop three supporting brick pillars. Following the closure of the railway line in 1927, and the construction of the Chandler Highway in 1930, the bridge was used for vehicular traffic. In 1891 when this panoramic photograph was taken, the grounds of what was then the Kew Lunatic Asylum extended down to the River and eastward beyond the viaduct. The landscape surrounding the Asylum was planted with traditional exotic trees such as Oaks, Pines and Cedars, and landmark trees from northern Australia such as the Hoop Pine. Remnant indigenous trees such as the River Red Gum, Yellow Box and Lightwood were scattered around the site, including beside the Yarra River.Railway Bridge Over the Yarrakew illustrated, kew where we live, photographic books, henry kellett, railway viaduct - - kew (vic)

At the beginning of the 1890s, the Kew businessman and Town Councillor, Henry Kellett, commissioned J.F.C. Farquhar to photograph scenes of Kew. These scenes included panoramas as well as pastoral scenes. The resulting set of twelve photographs was assembled in an album, Kew Where We Live, from which customers could select images for purchase.The preamble to the album describes that the photographs used the ‘argentic bromide’ process, now more commonly known as the gelatine silver process. This form of dry plate photography allowed for the negatives to be kept for weeks before processing, hence its value in landscape photography. The resulting images were considered to be finely grained and everlasting. Evidence of the success of Henry Kellett’s venture can be seen today, in that some of the photographs are held in national collections.It is believed that the Kew Historical Society’s copy of the Kellett album is unique and that the photographs in the book were the first copies taken from the original plates. It is the first and most important series of images produced about Kew. The individual images have proved essential in identifying buildings and places of heritage value in the district.When the Kew Lunatic Asylum was opened in 1871, its extensive 340 acres of grounds were intended for farming, agriculture and recreation for the inmates. The point-of-view chosen by Farquhar for this panoramic photograph focuses on the ordered open fields, haystacks and remnant trees that extended from the foreground to the rear of the Asylum. The inmates are the absent players in this pastoral idyll. In 1891, The Argus reported on the Annual Asylum Picnic: “Wednesday saw the Kew picnic, the yearly festival of the mad folks and their keepers. Once a year the public subscribes for cakes and ale for all these mad folks, and their keepers, from superintendent to lowest wardsman, turn out, and use their best endeavours to make one day in the year sanely merry.” Regardless of such merriment, the Asylum’s development and ongoing status were frequently a source of disquiet to the residents of Kew, who regularly petitioned the State Government for its removal. Despite these views, the Asylum was to remain a functioning institution from 1871 to 1988. Kew Asylum & Groundskew illustrated, kew where we live, photographic books, henry kellett, kew lunatic asylum

At the beginning of the 1890s, the Kew businessman and Town Councillor, Henry Kellett, commissioned J.F.C. Farquhar to photograph scenes of Kew. These scenes included panoramas as well as pastoral scenes. The resulting set of twelve photographs was assembled in an album, Kew Where We Live, from which customers could select images for purchase.The preamble to the album describes that the photographs used the ‘argentic bromide’ process, now more commonly known as the gelatine silver process. This form of dry plate photography allowed for the negatives to be kept for weeks before processing, hence its value in landscape photography. The resulting images were considered to be finely grained and everlasting. Evidence of the success of Henry Kellett’s venture can be seen today, in that some of the photographs are held in national collections.It is believed that the Kew Historical Society’s copy of the Kellett album is unique and that the photographs in the book were the first copies taken from the original plates. It is the first and most important series of images produced about Kew. The individual images have proved essential in identifying buildings and places of heritage value in the district.In Farquhar’s close-up portrait of the rat catcher and his dog, the photographer excludes any extraneous data that otherwise might have provided a spatial or motivational context. The contemporary or the present day viewer is required to construct a narrative to explore or understand what is occurring. The title of the picture might incline a viewer to believe that what they see is an exercise in vermin control, and that the rat concerned might be an introduced black or brown rodent. A more likely scenario is that the rat catcher is focussed on catching ‘rakali’, a native water-rat once widely trapped for its fur. The trapping of rakali for use in the manufacture of fashionable clothing accelerated as introduced furs such as musquash became more expensive. It was not until 1938 that rakali were granted protected status.Ratting on the Yarrakew illustrated, kew where we live, photographic books, henry kellett, yarra river

At the beginning of the 1890s, the Kew businessman and Town Councillor, Henry Kellett, commissioned J.F.C. Farquhar to photograph scenes of Kew. These scenes included panoramas as well as pastoral scenes. The resulting set of twelve photographs was assembled in an album, Kew Where We Live, from which customers could select images for purchase.The preamble to the album describes that the photographs used the ‘argentic bromide’ process, now more commonly known as the gelatine silver process. This form of dry plate photography allowed for the negatives to be kept for weeks before processing, hence its value in landscape photography. The resulting images were considered to be finely grained and everlasting. Evidence of the success of Henry Kellett’s venture can be seen today, in that some of the photographs are held in national collections.It is believed that the Kew Historical Society’s copy of the Kellett album is unique and that the photographs in the book were the first copies taken from the original plates. It is the first and most important series of images produced about Kew. The individual images have proved essential in identifying buildings and places of heritage value in the district.Dight’s Falls in Studley Park is an artificial weir built on a natural rock bar across the Yarra. The weir was built in the 1840s to provide water to the ‘Ceres’ flour mill, one of the earliest industrial sites in Melbourne. The falls were later to be named after the owner of this mill. In 1888, William Guilfoyle, Director of the Melbourne Botanical Gardens had called for fresh water to be piped from above the weir to the Botanical Gardens, using a pumping station on the Kew side of the Falls, a holding reservoir in Walmer Street and a series of pipes from there to the Gardens. This system was opened in May 1891. Farquhar’s photograph of the man-made weir obscures the industrial activity on both sides of the Falls and focusses solely on the river and the surrounding natural vegetation. The photograph probably predates the disastrous flooding of the Yarra River in July 1891, the greatest to have occurred in the Colony since the foundation of Melbourne.Dight's Fallskew illustrated, kew where we live, photographic books, henry kellett, yarra river

At the beginning of the 1890s, the Kew businessman and Town Councillor, Henry Kellett, commissioned J.F.C. Farquhar to photograph scenes of Kew. These scenes included panoramas as well as pastoral scenes. The resulting set of twelve photographs was assembled in an album, Kew Where We Live, from which customers could select images for purchase.The preamble to the album describes that the photographs used the ‘argentic bromide’ process, now more commonly known as the gelatine silver process. This form of dry plate photography allowed for the negatives to be kept for weeks before processing, hence its value in landscape photography. The resulting images were considered to be finely grained and everlasting. Evidence of the success of Henry Kellett’s venture can be seen today, in that some of the photographs are held in national collections.It is believed that the Kew Historical Society’s copy of the Kellett album is unique and that the photographs in the book were the first copies taken from the original plates. It is the first and most important series of images produced about Kew. The individual images have proved essential in identifying buildings and places of heritage value in the district.Hyde Park is now a small recreation reserve bordered by Willsmere and Kilby Roads and White Avenue. In 1982, Hyde Park was cut off from the Yarra River by the construction of the Eastern Freeway. The building of the latter was to transform the natural landscape, including the Yarra, as well as Hyde Park. The construction of the Freeway makes it difficult to view the scene with the photographer’s eye. Today’s Hyde Park is located on land purchased in 1847 by John Cowell, and in 1851 Catherine Cowell, yet the scene selected by the photographer may well have been located on farmland owned by the Wills family. Farquhar’s point-of-view emphasises both the pastoral and recreational elements of the scene: the grazing cows, three boys, and in the distance two figures, seated on the bank with a parasol. By 1891, an environmental consequence of human activity, including farming, was deforestation, leading to the erosion of the south bank of the Yarra. In contrast, the land on the Alphington side of the river in 1891 included remnant bushland.The Yarra in Hyde Parkkew illustrated, kew where we live, photographic books, henry kellett, yarra river

At the beginning of the 1890s, the Kew businessman and Town Councillor, Henry Kellett, commissioned J.F.C. Farquhar to photograph scenes of Kew. These scenes included panoramas as well as pastoral scenes. The resulting set of twelve photographs was assembled in an album, Kew Where We Live, from which customers could select images for purchase.The preamble to the album describes that the photographs used the ‘argentic bromide’ process, now more commonly known as the gelatine silver process. This form of dry plate photography allowed for the negatives to be kept for weeks before processing, hence its value in landscape photography. The resulting images were considered to be finely grained and everlasting. Evidence of the success of Henry Kellett’s venture can be seen today, in that some of the photographs are held in national collections.It is believed that the Kew Historical Society’s copy of the Kellett album is unique and that the photographs in the book were the first copies taken from the original plates. It is the first and most important series of images produced about Kew. The individual images have proved essential in identifying buildings and places of heritage value in the district.A unique Illustrated book, comprising a series of twelve plates of panoramic and landscape photographs of Kew, commissioned from the Melbourne (and Kew) photographer JFC Farquhar, by the Kew stationer Henry Kellett. The book was published in 1891, so it is presumed that the photographs provided by Farquhar were taken in 1891 or in the previous year. Photographs from the cloth bound book were offered by Kellett for sale separately; hence a number are in public collections. The book is in very poor condition, the leaves having separated from the spine. The cover is suffering from red rot while the mounts of each book plate are dirty and frequently suffering from foxing. The actual silver albumen plates variably suffer from foxing and iridescence caused by the deterioration resulting from the photographic process. Each part of the book can be viewed in this record in sequential format.KEW WHERE WE LIVE / KEW ILLUSTRATED / THE ACCOMPANYING ILLUSTRATIONS ARE PHOTOGRAPHIC VIEWS OF KEW AND ITS SURROUNDINGS, EXECUTED BY THE "ARGENTIC BROMIDE PROCESS", WHICH ENSURES ABSOLUTE PERMANENCY OF THE PHOTOGRAPH. IN A FEW YEARS HENCE WHEN MOST OF THE OLD LANDMARKS WILL HAVE DISAPPEARED THESE VIEWS WILL BE A VALUABLE MEMENTO OF KEW AS IT WAS IN 1891. ANY OF THESE ILLUSTRATIONS GAN BE OBTAINED FROM MR. H. KELLETT, HIGH STREET, KEW, IN SINGLE COPIES, IN THE SAME SIZE AS THOSE HEREIN AT 2s PER COPY. THEY MAY ALSO BE OBTAINED IN THE FOLLOWING SIZES FOR FRAMING:- / ACTUAL SIZE OF PHOTOGRAPH 15 INCHES X 12 INCHES @ 8. 6d EACH / 22 INCHES X 16 INCHES @ 15s EACH / PRIVATE RESIDENCES AND ESTATES / SPECIAL ARRANGEMENTS CAN BE MADE FOR TAKING VIEWS OF PRIVATE RESIDENCES - INTERIOR AND EXTERIOR - AND FOR GROUPS, &C., IN ANY SIZE UP TO 40 INCHES BY 30 INCHES BY THE "ARGENTIC BROMIDE" PROCESS UPON APPLICATION TO / MR H. KELLETT / HIGH STREET, KEW.kew illustrated, kew where we live, photographic books, henry kellett, jfc farquhar - photographer

John Mitchell was born c. 1830 in Cornwall and travelled to Victoria with his father in 1853. Arriving in Bendigo they both worked as blacksmiths before his father returned to Cornwall. John plied his trade in Mundy Street, Bendigo before selling the business in 1865 after 11 years. Upon the discovery of gold in Western Australia, John travelled there and back three times before dying in Bendigo in 1902. He lived in Violet st., and left a wife, Elizabeth Hannah, and daughter, Mrs E Morris. Early business in Sandhurst in 1850s.An account book used by the John Mitchell to record the purchases and services made with his business. Records date from 1859 - 1868. The book has lost its front cover, but the back cover is still attached. The book is made up of several sections stitched together and bound with three pieces of cotton cloth. The pages are light blue with ruled columns. There are alphabetical tabs at the front of the book with lists of names. Individual customers are allocated a double page entry. Pages numbers are written at the top of pages. The book is in very poor condition having obvious signs of water and insect damage with visible patches of mold. The writing in the first quarter of the book is barely legible, remaining pages can be read.bendigo businesses, blacksmith, horse shoer, wheelwright

The item is a hard cover book recording weekly work of T.J. Connolly, Ironmongers, Sandhurst. Each handwritten page is dated at the top and records the customer surname and price of goods. The total for the week is recorded at the end of the entries. Some entries include a description of the goods or equipment. Each page is signed and or checked off in red pencil or pen near the total. The hard cardboard cover has a worn blue material cover. The spine of the book is leather, with a canvas binding under the leather. The inside front and back pages are purple with a green and red marbling pattern. The book is full and includes the date range of 02 January 1885 to 24 December 1891. This item is part of the Margaret Roberts Collection.margaret roberts collection, ironmongers, forest street, bendigo businesses