One of a series of photographs, taken by Edgar James Dower in the second decade of the twentieth century. Born and raised in Olinda, his family later moved to Surrey Hills. He worked as an adult as a clerk in the city office of the Metropolitan Gas Company, and in his role as a 'collector', he was able to photograph scenes including the construction of tramlines and associated buildings in Kew, Hawthorn, Camberwell and Surrey Hills. Later he established a real estate agency with his brother - the E.J. Dower Real Estate Agency, Dandenong Office.The image is an historically significant record of the development of transport infrastructure which was used to connect Victorians in the first two decades of the twentieth century. This development resulted from increases in population and the consequent extension of Melbourne's suburbs. The photographs, both individually and collectively, richly detail the labour of workers and the tools and machinery used to create and extend Melbourne's public transport network in the years preceding and during World War 1.Digital copy of an original mounted photograph showing the old railway crossing in Glenferrie Road, Hawthorn. The removal of the train level crossing and the elevation of the rail line above the road was designed to enable the laying of tram tracks along Glenferrie Road. The buildings to the right of the photo were being demolished to allow for this. "The Don Store" is immediately behind the crossing.Annotated verso: "1912 / Demolishing shops near Glenferrie Railway Station, just prior to the regrading of line to camberwell / Taken by E.J. Dower 1912"theme --- travelling by tram, theme -- connecting victorians by transport and communications, glenferrie railway station, glenferrie road -- hawthorn (vic.), railways -- hawthorn

One of a series of photographs, taken by Edgar James Dower in the second decade of the twentieth century. Born and raised in Olinda, his family later moved to Surrey Hills. He worked as an adult as a clerk in the city office of the Metropolitan Gas Company, and in his role as a 'collector', he was able to photograph scenes including the construction of tramlines and associated buildings in Kew, Hawthorn, Camberwell and Surrey Hills. Later he established a real estate agency with his brother - the E.J. Dower Real Estate Agency, Dandenong Office.The image is an historically significant record of the development of transport infrastructure which was used to connect Victorians in the first two decades of the twentieth century. This development resulted from increases in population and the consequent extension of Melbourne's suburbs. The photographs, both individually and collectively, richly detail the labour of workers and the tools and machinery used to create and extend Melbourne's public transport network in the years preceding and during World War 1.Digital copy of an original mounted photograph showing a worker standing on a ladder in Glenferrie Road, Hawthorn, working on the overhead electric cables that would be used to power trams on the New Kew tramline.Other railway workers are working on platforms or viewing the man on the ladder. The ladder appears to be only supported by one other worker. "The Don Store" at left is immediately behind the old railway level crossing which can be seen in the distance to the south.Annotated verso: "Preparing for electric trams in Glenferrie Road, near Glenferrie Station, showing railway gates / Taken by E.J. Dower 1914"theme --- travelling by tram, theme -- connecting victorians by transport and communications, glenferrie road -- hawthorn (vic.), railways -- hawthorn

One of a series of photographs, taken by Edgar James Dower in the second decade of the twentieth century. Born and raised in Olinda, his family later moved to Surrey Hills. He worked as an adult as a clerk in the city office of the Metropolitan Gas Company, and in his role as a 'collector', he was able to photograph scenes including the construction of tramlines and associated buildings in Kew, Hawthorn, Camberwell and Surrey Hills. Later he established a real estate agency with his brother - the E.J. Dower Real Estate Agency, Dandenong Office.The image is an historically significant record of the development of transport infrastructure which was used to connect Victorians in the first two decades of the twentieth century. This development resulted from increases in population and the consequent extension of Melbourne's suburbs. The photographs, both individually and collectively, richly detail the labour of workers and the tools and machinery used to create and extend Melbourne's public transport network in the years preceding and during World War 1.Digital copy of an original mounted photograph showing Glenferrie Road Hawthorn, looking north towards the old railway level crossing that existed before the line was elevated on a bridge over Glenferrie Road. "The Don Store" at right is immediately behind the old railway level crossing. The tree and shops at left before the crossing were to be removed / demolished as part of the realignment of the train tracks.Annotated verso: "1914 [deleted]/1913 / Glenferrie Road showing railway gates / Taken just before the commencement of the regrading of railway line to Camberwell".theme --- travelling by tram, theme -- connecting victorians by transport and communications, glenferrie road -- hawthorn (vic.), railways -- hawthorn, the don store -- hawthorn (vic.)

One of a series of photographs, taken by Edgar James Dower in the second decade of the twentieth century. Born and raised in Olinda, his family later moved to Surrey Hills. He worked as an adult as a clerk in the city office of the Metropolitan Gas Company, and in his role as a 'collector', he was able to photograph scenes including the construction of tramlines and associated buildings in Kew, Hawthorn, Camberwell and Surrey Hills. Later he established a real estate agency with his brother - the E.J. Dower Real Estate Agency, Dandenong Office.The image is an historically significant record of the development of transport infrastructure which was used to connect Victorians in the first two decades of the twentieth century. This development resulted from increases in population and the consequent extension of Melbourne's suburbs. The photographs, both individually and collectively, richly detail the labour of workers and the tools and machinery used to create and extend Melbourne's public transport network in the years preceding and during World War 1.Digital copy of an original mounted photograph showing Glenferrie Road Hawthorn, looking north towards the old railway level crossing that existed before the line was elevated on a bridge over Glenferrie Road. "The Don Store" at right is immediately behind the old railway level crossing. The tree and shops at left before the crossing were to be removed / demolished as part of the realignment of the train tracks.Annotated verso: "Glenferrie Road, Glenferrie, showing railway gates and Walker's Store / Taken prior to the construction of electric tramline and the regrading of Camberwell Railway Line / Taken by E.J. Dower about 1912".theme --- travelling by tram, theme -- connecting victorians by transport and communications, glenferrie road -- hawthorn (vic.), railways -- hawthorn, the don store -- hawthorn (vic.)

One of a series of photographs, taken by Edgar James Dower in the second decade of the twentieth century. Born and raised in Olinda, his family later moved to Surrey Hills. He worked as an adult as a clerk in the city office of the Metropolitan Gas Company, and in his role as a 'collector', he was able to photograph scenes including the construction of tramlines, railways and associated buildings in Kew, Hawthorn, Camberwell and Surrey Hills. Later he established a real estate agency with his brother - the E.J. Dower Real Estate Agency, Dandenong Office.The image is an historically significant record of the development of transport infrastructure which was used to connect Victorians in the first two decades of the twentieth century. This development resulted from increases in population and the consequent extension of Melbourne's suburbs. The photographs, both individually and collectively, richly detail the labour of workers and the tools and machinery used to create and extend Melbourne's public transport network in the years preceding and during World War 1.Digital copy of a an original mounted photograph showing the Camberwell Railway station being demolished and the Auburn Railway Station. The photos were later dated by the photographer as being taken in 1915.verso: "2015 / Top picture - Original Camberwell railway station being demolished / Bottom picture - Original Auburn Railway station on left / Taken by E.J. Dower"theme -- connecting victorians by transport and communications, camberwell railway station, auburn railway station, theme - travelling by train

One of a series of photographs, taken by Edgar James Dower in the second decade of the twentieth century. Born and raised in Olinda, his family later moved to Surrey Hills. He worked as an adult as a clerk in the city office of the Metropolitan Gas Company, and in his role as a 'collector', he was able to photograph scenes including the construction of tramlines, railways and associated buildings in Kew, Hawthorn, Camberwell and Surrey Hills. Later he established a real estate agency with his brother - the E.J. Dower Real Estate Agency, Dandenong Office.The image is an historically significant record of the development of transport infrastructure which was used to connect Victorians in the first two decades of the twentieth century. This development resulted from increases in population and the consequent extension of Melbourne's suburbs. The photographs, both individually and collectively, richly detail the labour of workers and the tools and machinery used to create and extend Melbourne's public transport network in the years preceding and during World War 1.Digital copy of an original mounted photograph showing workers excavating Riversdale Road, Camberwell, in preparation for the laying of the new electric tramline.Verso: "Riversdale Road between Wattle Valley and Highfield Roads"theme -- connecting victorians by transport and communications, riversdale road - camberwell (vic.), theme -- travelling by tram

One of a series of photographs, taken by Edgar James Dower in the second decade of the twentieth century. Born and raised in Olinda, his family later moved to Surrey Hills. He worked as an adult as a clerk in the city office of the Metropolitan Gas Company, and in his role as a 'collector', he was able to photograph scenes including the construction of tramlines, railways and associated buildings in Kew, Hawthorn, Camberwell and Surrey Hills. Later he established a real estate agency with his brother - the E.J. Dower Real Estate Agency, Dandenong Office.The image is an historically significant record of the development of transport infrastructure which was used to connect Victorians in the first two decades of the twentieth century. This development resulted from increases in population and the consequent extension of Melbourne's suburbs. The photographs, both individually and collectively, richly detail the labour of workers and the tools and machinery used to create and extend Melbourne's public transport network in the years preceding and during World War 1.Digital copy of an original mounted photograph depicting workers regrading the Camberwell Railway line following the demolition of the original Camberwell Railway Station. The level crossing gates at Burke Road can be seen in the distance. Named buildings include The Assembly Hall at right.Verso: "1915 / Regrading Camberwell Railway Line / Note Railway Gates on Burke Road / Taken by E.J. Dower"theme -- connecting victorians by transport and communications, theme - camberwell railway station, theme - travelling by train

One of a series of photographs, taken by Edgar James Dower in the second decade of the twentieth century. Born and raised in Olinda, his family later moved to Surrey Hills. He worked as an adult as a clerk in the city office of the Metropolitan Gas Company, and in his role as a 'collector', he was able to photograph scenes including the construction of tramlines, railways and associated buildings in Kew, Hawthorn, Camberwell and Surrey Hills. Later he established a real estate agency with his brother - the E.J. Dower Real Estate Agency, Dandenong Office.The image is an historically significant record of the development of transport infrastructure which was used to connect Victorians in the first two decades of the twentieth century. This development resulted from increases in population and the consequent extension of Melbourne's suburbs. The photographs, both individually and collectively, richly detail the labour of workers and the tools and machinery used to create and extend Melbourne's public transport network in the years preceding and during World War 1.Digital copy of an original mounted photograph depicting workers regrading the Camberwell Railway line following the demolition of the original Camberwell Railway Station. The photographer noted the presence of a wheeled 'steam shovel' at left Verso: "1915 / Regrading Camberwell railway line taken just east of Camberwell Station / Note steam shovel at work / Taken by E.J.D."theme -- connecting victorians by transport and communications, theme - camberwell railway station, theme - travelling by train

One of a series of photographs, taken by Edgar James Dower in the second decade of the twentieth century. Born and raised in Olinda, his family later moved to Surrey Hills. He worked as an adult as a clerk in the city office of the Metropolitan Gas Company, and in his role as a 'collector', he was able to photograph scenes including the construction of tramlines, railways and associated buildings in Kew, Hawthorn, Camberwell and Surrey Hills. Later he established a real estate agency with his brother - the E.J. Dower Real Estate Agency, Dandenong Office.The image is an historically significant record of the development of transport infrastructure which was used to connect Victorians in the first two decades of the twentieth century. This development resulted from increases in population and the consequent extension of Melbourne's suburbs. The photographs, both individually and collectively, richly detail the labour of workers and the tools and machinery used to create and extend Melbourne's public transport network in the years preceding and during World War 1.Digital copy of an original oval mounted photograph depicting workers regrading the Camberwell Railway line in the vicinity of Burke Road following the demolition of the original Camberwell Railway Station. Verso: "1915 / Regrading Camberwell railway line, near Burke Road / Taken by E.J.Dower."theme -- connecting victorians by transport and communications, theme - camberwell railway station, theme - travelling by train

One of a series of photographs, taken by Edgar James Dower in the second decade of the twentieth century. Born and raised in Olinda, his family later moved to Surrey Hills. He worked as an adult as a clerk in the city office of the Metropolitan Gas Company, and in his role as a 'collector', he was able to photograph scenes including the construction of tramlines, railways and associated buildings in Kew, Hawthorn, Camberwell and Surrey Hills. Later he established a real estate agency with his brother - the E.J. Dower Real Estate Agency, Dandenong Office.The image is an historically significant record of the development of transport infrastructure which was used to connect Victorians in the first two decades of the twentieth century. This development resulted from increases in population and the consequent extension of Melbourne's suburbs. The photographs, both individually and collectively, richly detail the labour of workers and the tools and machinery used to create and extend Melbourne's public transport network in the years preceding and during World War 1.Digital copy of an original oval mounted photograph depicting workers regrading the Camberwell Railway line following the demolition of the original Camberwell Railway Station. The level crossing gates at Burke Road can be seen in the distance. Named buildings include The Assembly Hall at right.Verso: "1915 / Regrading Camberwell railway line, near Burke Road / Taken by E.J.Dower."theme -- connecting victorians by transport and communications, theme - camberwell railway station, theme - travelling by train

One of a small album of six photographs of the construction of the Cotham Road tramline in Kew, taken by Edgar James Dower in the second decade of the twentieth century. The reverse of each photo contains notes, written over time by the photographer, which are contained in the 'Inscriptions' field. Born and raised in Olinda, Dower's family later moved to Surrey Hills. He worked as an adult as a clerk in the city office of the Metropolitan Gas Company, and in his role as a 'collector', he was able to photograph scenes including the construction of tram and train lines and associated buildings in Kew, Hawthorn, Camberwell and Surrey Hills. Later he established a real estate agency with his brother - the E.J. Dower Real Estate Agency, Dandenong Office. The album as a whole can be viewed separately as the parent file.The image is an historically significant record of the development of transport infrastructure which was used to connect Victorians in the first two decades of the twentieth century. This development resulted from increases in population and the consequent extension of Melbourne's suburbs. The photographs in the album, as well as Dower's single photos mounted on card, individually and collectively richly detail the labour of workers and the tools and machinery used to create and extend Melbourne's tram and train networks in the years preceding and during World War 1.The first of six annotated photos in an album of photographs of the construction of the St Kilda to Kew electric tram line, taken in Cotham Road, Kew, by the amateur photographer, Edgar James Dower, in 1913. The album contains images detailing the preparation for the laying of the tracks plus work laying the line. The photographer notes on a number of the photos that te metal tracks were collected from the Hawthorn railway siding. The album, together with other phots by E.J. Dower has been made available by the owners for the Kew Historical Society to digitise and publish online and in print.Annotation verso: "1913 / Preparing for electric trams in Cotham Road Kew, looking west / Taken from corner of Burke Road by E.J. Dower / The metal was brought by horse and drays, from Hawthorn rail-way siding".keywords, theme -- connecting victorians by transport and communications, theme -- travelling by tram, photographers -- edgar james dower, cotham road -- kew (vic.)

One of a small album of six photographs of the construction of the Cotham Road tramline in Kew, taken by Edgar James Dower in the second decade of the twentieth century. The reverse of each photo contains notes, written over time by the photographer, which are contained in the 'Inscriptions' field. Born and raised in Olinda, Dower's family later moved to Surrey Hills. He worked as an adult as a clerk in the city office of the Metropolitan Gas Company, and in his role as a 'collector', he was able to photograph scenes including the construction of tram and train lines and associated buildings in Kew, Hawthorn, Camberwell and Surrey Hills. Later he established a real estate agency with his brother - the E.J. Dower Real Estate Agency, Dandenong Office. The album as a whole can be viewed separately as the parent file.The image is an historically significant record of the development of transport infrastructure which was used to connect Victorians in the first two decades of the twentieth century. This development resulted from increases in population and the consequent extension of Melbourne's suburbs. The photographs in the album, as well as Dower's single photos mounted on card, individually and collectively richly detail the labour of workers and the tools and machinery used to create and extend Melbourne's tram and train networks in the years preceding and during World War 1.The second of six annotated photos in an album of photographs of the construction of the St Kilda to Kew electric tram line, taken in Cotham Road, Kew, by the amateur photographer, Edgar James Dower, in 1913. The album contains images detailing the preparation for the laying of the tracks plus work laying the line. The photographer notes on a number of the photos that the metal tracks were collected from the Hawthorn railway siding. The album, together with other phots by E.J. Dower has been made available by the owners for the Kew Historical Society to digitise and publish online and in print.Annotation verso: "Preparing electric tram Cotham Road, Kew, 1913 / The metal was brought by horses and drays, from Hawthorn railway siding".keywords, theme -- connecting victorians by transport and communications, theme -- travelling by tram, photographers -- edgar james dower, cotham road -- kew (vic.)

One of a small album of six photographs of the construction of the Cotham Road tramline in Kew, taken by Edgar James Dower in the second decade of the twentieth century. The reverse of each photo contains notes, written over time by the photographer, which are contained in the 'Inscriptions' field. Born and raised in Olinda, Dower's family later moved to Surrey Hills. He worked as an adult as a clerk in the city office of the Metropolitan Gas Company, and in his role as a 'collector', he was able to photograph scenes including the construction of tram and train lines and associated buildings in Kew, Hawthorn, Camberwell and Surrey Hills. Later he established a real estate agency with his brother - the E.J. Dower Real Estate Agency, Dandenong Office. The album as a whole can be viewed separately as the parent file.The image is an historically significant record of the development of transport infrastructure which was used to connect Victorians in the first two decades of the twentieth century. This development resulted from increases in population and the consequent extension of Melbourne's suburbs. The photographs in the album, as well as Dower's single photos mounted on card, individually and collectively richly detail the labour of workers and the tools and machinery used to create and extend Melbourne's tram and train networks in the years preceding and during World War 1.The third of six annotated photos in an album of photographs of the construction of the St Kilda to Kew electric tram line, taken in Cotham Road, Kew, by the amateur photographer, Edgar James Dower, in 1913. The album contains images detailing the preparation for the laying of the tracks plus work laying the line. The photographer notes on a number of the photos that the metal tracks were collected from the Hawthorn railway siding. The album, together with other phots by E.J. Dower has been made available by the owners for the Kew Historical Society to digitise and publish online and in print.Annotation verso: "Preparing Cotham Road Kew for electric trams / The metal was brought by horses and drays, from Hawthorn railway siding / 1913".keywords, theme -- connecting victorians by transport and communications, theme -- travelling by tram, photographers -- edgar james dower, cotham road -- kew (vic.)

One of a small album of six photographs of the construction of the Cotham Road tramline in Kew, taken by Edgar James Dower in the second decade of the twentieth century. The reverse of each photo contains notes, written over time by the photographer, which are contained in the 'Inscriptions' field. Born and raised in Olinda, Dower's family later moved to Surrey Hills. He worked as an adult as a clerk in the city office of the Metropolitan Gas Company, and in his role as a 'collector', he was able to photograph scenes including the construction of tram and train lines and associated buildings in Kew, Hawthorn, Camberwell and Surrey Hills. Later he established a real estate agency with his brother - the E.J. Dower Real Estate Agency, Dandenong Office. The album as a whole can be viewed separately as the parent file.The image is an historically significant record of the development of transport infrastructure which was used to connect Victorians in the first two decades of the twentieth century. This development resulted from increases in population and the consequent extension of Melbourne's suburbs. The photographs in the album, as well as Dower's single photos mounted on card, individually and collectively richly detail the labour of workers and the tools and machinery used to create and extend Melbourne's tram and train networks in the years preceding and during World War 1.The fourth of six annotated photos in an album of photographs of the construction of the St Kilda to Kew electric tram line, taken in Cotham Road, Kew, by the amateur photographer, Edgar James Dower, in 1913. The album contains images detailing the preparation for the laying of the tracks plus work laying the line. The photographer notes on a number of the photos that the metal tracks were collected from the Hawthorn railway siding. The album, together with other phots by E.J. Dower has been made available by the owners for the Kew Historical Society to digitise and publish online and in print.Annotation verso: "Preparing tram line Cotham Road Kew looking east for electric trams / 1913 / The metal was brought by horses and drays, from Hawthorn railway siding / 1913".keywords, theme -- connecting victorians by transport and communications, theme -- travelling by tram, photographers -- edgar james dower, cotham road -- kew (vic.)

One of a small album of six photographs of the construction of the Cotham Road tramline in Kew, taken by Edgar James Dower in the second decade of the twentieth century. The reverse of each photo contains notes, written over time by the photographer, which are contained in the 'Inscriptions' field. Born and raised in Olinda, Dower's family later moved to Surrey Hills. He worked as an adult as a clerk in the city office of the Metropolitan Gas Company, and in his role as a 'collector', he was able to photograph scenes including the construction of tram and train lines and associated buildings in Kew, Hawthorn, Camberwell and Surrey Hills. Later he established a real estate agency with his brother - the E.J. Dower Real Estate Agency, Dandenong Office. The album as a whole can be viewed separately as the parent file.The image is an historically significant record of the development of transport infrastructure which was used to connect Victorians in the first two decades of the twentieth century. This development resulted from increases in population and the consequent extension of Melbourne's suburbs. The photographs in the album, as well as Dower's single photos mounted on card, individually and collectively richly detail the labour of workers and the tools and machinery used to create and extend Melbourne's tram and train networks in the years preceding and during World War 1.The fifth of six annotated photos in an album of photographs of the construction of the St Kilda to Kew electric tram line, taken in Cotham Road, Kew, by the amateur photographer, Edgar James Dower, in 1913. The album contains images detailing the preparation for the laying of the tracks plus work laying the line. The photographer notes on a number of the photos that the metal tracks were collected from the Hawthorn railway siding. The album, together with other phots by E.J. Dower has been made available by the owners for the Kew Historical Society to digitise and publish online and in print.Annotation verso: "Preparing tram line Cotham Road Kew for electric trams, looking west / 1913"keywords, theme -- connecting victorians by transport and communications, theme -- travelling by tram, photographers -- edgar james dower, cotham road -- kew (vic.)

One of a small album of six photographs of the construction of the Cotham Road tramline in Kew, taken by Edgar James Dower in the second decade of the twentieth century. The reverse of each photo contains notes, written over time by the photographer, which are contained in the 'Inscriptions' field. Born and raised in Olinda, Dower's family later moved to Surrey Hills. He worked as an adult as a clerk in the city office of the Metropolitan Gas Company, and in his role as a 'collector', he was able to photograph scenes including the construction of tram and train lines and associated buildings in Kew, Hawthorn, Camberwell and Surrey Hills. Later he established a real estate agency with his brother - the E.J. Dower Real Estate Agency, Dandenong Office. The album as a whole can be viewed separately as the parent file.The image is an historically significant record of the development of transport infrastructure which was used to connect Victorians in the first two decades of the twentieth century. This development resulted from increases in population and the consequent extension of Melbourne's suburbs. The photographs in the album, as well as Dower's single photos mounted on card, individually and collectively richly detail the labour of workers and the tools and machinery used to create and extend Melbourne's tram and train networks in the years preceding and during World War 1.The sixth of six annotated photos in an album of photographs of the construction of the St Kilda to Kew electric tram line, taken in Cotham Road, Kew, by the amateur photographer, Edgar James Dower, in 1913. The album contains images detailing the preparation for the laying of the tracks plus work laying the line. The photographer notes on a number of the photos that the metal tracks were collected from the Hawthorn railway siding. The album, together with other phots by E.J. Dower has been made available by the owners for the Kew Historical Society to digitise and publish online and in print.Annotation verso: "Preparing tram line Cotham Road Kew for electric trams / 1913 / The metal was brought by horse and drays, from Hawthorn railway siding".keywords, theme -- connecting victorians by transport and communications, theme -- travelling by tram, photographers -- edgar james dower, cotham road -- kew (vic.)

Sanderson P (1988): '73 Walpole Street (Kew), 'Otira'. Built 1887. Original use - Residence. Architect - Crouch. Henry Berry, a noted philanthropist and salt merchant of Melbourne, was the original owner of this two-storey, boom-period house. Berry occupied the residence until his death in 1923 while in February the following year, the property was auctioned. Subsequently purchased by the Methodist Church for use as a training college for missionaries, a number of additions and alterations were made at that stage including a memorial chapel that was built on the property in 1957.' Otira is now a private residence. Original colour positive photograph (polaroid) of 'Otira', 73 Walpole Street, Kew, taken in 1978 by students in Form 3R at Trinity Grammar School as part of a project. The view in the photograph is of the front of the house, minus the first floor verandah that had been removed some decades before and preceding the reinstatement of the verandah sometime after 1988. Prue Sanderson, in the City of Kew Urban Conservation Study, Vol.2 (1988) stated that: 'The house originally had a fine cast iron verandah to two facades, however despite its removal, it remains as a most preposessing structure, The small cast iron perch is not original. Overall the design is in Italianate styling and the walls are clad in render, with extremely fine incised medallions in the render at both levels. The treatment of the tripartite windows with rounded upper corners is also atypical and is repeated in the joinery of the front entrance.'"Photo one / Trinity Grammar Project 1978 / Form 3R / "Otira" Walpole St"otira - 73 walpole street, henry berry, historic houses -- kew (vic.), trinity grammar school, melbourne architects -- crouch

The 1st Kew Scouts was one of the first Scout Troops in Victoria, being formed in 1909. From 1927 they met in a magnificent Scout Hall in Disraeli Street, Kew until it was demolished in 1993. Still operating (in 2020) from their new Scout Hall on the corner of Kilby Road and Kellett Grove, Kew.Large sepia photograph of a 1st Kew Scout in uniform. Given that it is a large-sized studio photograph that had been framed and kept for decades, it is likely to be one of the founders of the Scout Troop, perhaps Captain Peowrie. Like many of the early Scout Troops, a man with a military background initially led 1st Kew. Having joined the Scout Troop in 1911 or early 1912, Captain Peowrie went on to serve in the Army during the First World War, rejoining the Scout Troop at war’s end. He went on to be the Scout Leader and later Group Leader up until 1930, whilst also serving as acting District Commissioner for Kew and Deputy Chief Commissioner of Victoria.1st kew scouts, scout master 1920s, scout master in uniform 1920s

Frances Rigg was a local business identity in Kew, at one stage managing the local branch of the English, Scottish and Australian (ES&A) Bank at 175 High Street from c. 1920 until the 1940s. After Francis Rigg’s death, the collection of buttons and medallions was inherited by his son, Ken Rigg (1922-2014). The collection was subsequently donated to the Kew Historical Society in 2015 by Francis' grandson, Adrian Rigg, at the time of the Gallipoli & Beyond Commemoration in 2015. The collection covers a period of almost 40 years. The majority of the buttons are patriotic buttons, issued and sold during and immediately after the First World World War (1914-1918) to raise funds for national and overseas causes. The collection also includes a number of locally significant sporting event buttons and sporting club medallions, issued in the 1920s and 1930s.Patriotic and other pressed tin buttons and badges were produced in large numbers in the first decades of the twentieth century. By nature, insubstantial and ephemeral, they have not always survived. The collections of badges, buttons and medallions in the Kew Historical Society collection is homogenous and yet diverse, ranging from buttons sold to raise funds for the war efforts in 1914-18 and 1939-45, to those used at festivals and sporting events. Because of the manufacturing process, many surviving buttons and badges have been affected by inadequate storage, suffering from oxidisation and physical damage. These survivors are now historically and socially significant artefacts, revealing much about the attitudes and values of the period in which they were produced. Their widespread distribution means that they are frequently significant at a local, state, national and international level.A small circular pressed metal badge with a white outline of Australia against a dark blue background. Flags of Australia’s World War I allies are depicted within the Australian outline, including that of Imperial Russia."Allies For Freedom and Life"patriotic buttons, first world war (1914-18)

Frances Rigg was a local business identity in Kew, at one stage managing the local branch of the English, Scottish and Australian (ES&A) Bank at 175 High Street from c. 1920 until the 1940s. After Francis Rigg’s death, the collection of buttons and medallions was inherited by his son, Ken Rigg (1922-2014). The collection was subsequently donated to the Kew Historical Society in 2015 by Francis' grandson, Adrian Rigg, at the time of the Gallipoli & Beyond Commemoration in 2015. The collection covers a period of almost 40 years. The majority of the buttons are patriotic buttons, issued and sold during and immediately after the First World World War (1914-1918) to raise funds for national and overseas causes. The collection also includes a number of locally significant sporting event buttons and sporting club medallions, issued in the 1920s and 1930s.Patriotic and other pressed tin buttons and badges were produced in large numbers in the first decades of the twentieth century. By nature, insubstantial and ephemeral, they have not always survived. The collections of badges, buttons and medallions in the Kew Historical Society collection is homogenous and yet diverse, ranging from buttons sold to raise funds for the war efforts in 1914-18 and 1939-45, to those used at festivals and sporting events. Because of the manufacturing process, many surviving buttons and badges have been affected by inadequate storage, suffering from oxidisation and physical damage. These survivors are now historically and socially significant artefacts, revealing much about the attitudes and values of the period in which they were produced. Their widespread distribution means that they are frequently significant at a local, state, national and international level.World War I-era pressed metal fundraising badge, featuring an olive wreath encircling in red text: ‘ANZAC Apr. 25. 1915’, on a white background. "ANZAC Apr. 25. 1915 / Copyright"anzac day, first world war (1914-18), patriotic buttons, world war one, numismatics, badges

Frances Rigg was a local business identity in Kew, at one stage managing the local branch of the English, Scottish and Australian (ES&A) Bank at 175 High Street from c. 1920 until the 1940s. After Francis Rigg’s death, the collection of buttons and medallions was inherited by his son, Ken Rigg (1922-2014). The collection was subsequently donated to the Kew Historical Society in 2015 by Francis' grandson, Adrian Rigg, at the time of the Gallipoli & Beyond Commemoration in 2015. The collection covers a period of almost 40 years. The majority of the buttons are patriotic buttons, issued and sold during and immediately after the First World World War (1914-1918) to raise funds for national and overseas causes. The collection also includes a number of locally significant sporting event buttons and sporting club medallions, issued in the 1920s and 1930s.Patriotic and other pressed tin buttons and badges were produced in large numbers in the first decades of the twentieth century. By nature, insubstantial and ephemeral, they have not always survived. The collections of badges, buttons and medallions in the Kew Historical Society collection is homogenous and yet diverse, ranging from buttons sold to raise funds for the war efforts in 1914-18 and 1939-45, to those used at festivals and sporting events. Because of the manufacturing process, many surviving buttons and badges have been affected by inadequate storage, suffering from oxidisation and physical damage. These survivors are now historically and socially significant artefacts, revealing much about the attitudes and values of the period in which they were produced. Their widespread distribution means that they are frequently significant at a local, state, national and international level.World War I-era pressed metal fundraising badge, advertising ANZAC Remembrance Day"ANZAC Remembrance Day"patriotic buttons, remembrance day, badges

Frances Rigg was a local business identity in Kew, at one stage managing the local branch of the English, Scottish and Australian (ES&A) Bank at 175 High Street from c. 1920 until the 1940s. After Francis Rigg’s death, the collection of buttons and medallions was inherited by his son, Ken Rigg (1922-2014). The collection was subsequently donated to the Kew Historical Society in 2015 by Francis' grandson, Adrian Rigg, at the time of the Gallipoli & Beyond Commemoration in 2015. The collection covers a period of almost 40 years. The majority of the buttons are patriotic buttons, issued and sold during and immediately after the First World World War (1914-1918) to raise funds for national and overseas causes. The collection also includes a number of locally significant sporting event buttons and sporting club medallions, issued in the 1920s and 1930s.Patriotic and other pressed tin buttons and badges were produced in large numbers in the first decades of the twentieth century. By nature, insubstantial and ephemeral, they have not always survived. The collections of badges, buttons and medallions in the Kew Historical Society collection is homogenous and yet diverse, ranging from buttons sold to raise funds for the war efforts in 1914-18 and 1939-45, to those used at festivals and sporting events. Because of the manufacturing process, many surviving buttons and badges have been affected by inadequate storage, suffering from oxidisation and physical damage. These survivors are now historically and socially significant artefacts, revealing much about the attitudes and values of the period in which they were produced. Their widespread distribution means that they are frequently significant at a local, state, national and international level.Circular pressed tin button featuring the Red Cross flag. Beneath the flag is a two-tiered scroll with red text ‘Australian Red Cross Appeal 1918’, against a gold background with a white and red border."Australian Red Cross Appeal 1918"patriotic buttons, first world war (1914-18)

Empire Day had been initiated following the death of Queen Victoria and was held throughout the Empire from 1901-58. The main day of celebration was on 24 May, the date of Queen Victoria’s birthday. The Balwyn fundraising button was created for an appeal three days before the official date. Frances Rigg was a local business identity in Kew, at one stage managing the local branch of the English, Scottish and Australian (ES&A) Bank at 175 High Street from c. 1920 until the 1940s. After Francis Rigg’s death, the collection of buttons and medallions was inherited by his son, Ken Rigg (1922-2014). The collection was subsequently donated to the Kew Historical Society in 2015 by Francis' grandson, Adrian Rigg, at the time of the Gallipoli & Beyond Commemoration in 2015. The collection covers a period of almost 40 years. The majority of the buttons are patriotic buttons, issued and sold during and immediately after the First World World War (1914-1918) to raise funds for national and overseas causes. The collection also includes a number of locally significant sporting event buttons and sporting club medallions, issued in the 1920s and 1930sPatriotic and other pressed tin buttons and badges were produced in large numbers in the first decades of the twentieth century. By nature, insubstantial and ephemeral, they have not always survived. The collections of badges, buttons and medallions in the Kew Historical Society collection is homogenous and yet diverse, ranging from buttons sold to raise funds for the war efforts in 1914-18 and 1939-45, to those used at festivals and sporting events. Because of the manufacturing process, many surviving buttons and badges have been affected by inadequate storage, suffering from oxidisation and physical damage. These survivors are now historically and socially significant artefacts, revealing much about the attitudes and values of the period in which they were produced. Their widespread distribution means that they are frequently significant at a local, state, national and international level.An Empire Day fundraising button from 1921. The white enamelled button depicts in the centre an image of the Balwyn War Memorial in Beckett Park surmounted by a red ensign."Balwyn Empire Day Celebrations, Appeal for the Blind, May 21st 1921"patriotic buttons, empire day, balwyn war memorial - beckett park

Frances Rigg was a local business identity in Kew, at one stage managing the local branch of the English, Scottish and Australian (ES&A) Bank at 175 High Street from c. 1920 until the 1940s. After Francis Rigg’s death, the collection of buttons and medallions was inherited by his son, Ken Rigg (1922-2014). The collection was subsequently donated to the Kew Historical Society in 2015 by Francis' grandson, Adrian Rigg, at the time of the Gallipoli & Beyond Commemoration in 2015. The collection covers a period of almost 40 years. The majority of the buttons are patriotic buttons, issued and sold during and immediately after the First World World War (1914-1918) to raise funds for national and overseas causes. The collection also includes a number of locally significant sporting event buttons and sporting club medallions, issued in the 1920s and 1930s.Patriotic and other pressed tin buttons and badges were produced in large numbers in the first decades of the twentieth century. By nature, insubstantial and ephemeral, they have not always survived. The collections of badges, buttons and medallions in the Kew Historical Society collection is homogenous and yet diverse, ranging from buttons sold to raise funds for the war efforts in 1914-18 and 1939-45, to those used at festivals and sporting events. Because of the manufacturing process, many surviving buttons and badges have been affected by inadequate storage, suffering from oxidisation and physical damage. These survivors are now historically and socially significant artefacts, revealing much about the attitudes and values of the period in which they were produced. Their widespread distribution means that they are frequently significant at a local, state, national and international level.A button designed to raise funds in Deepdene and Balwyn for the Alfred Hospital Appeal of 1921. The central image on the button is of cricket bats, ball and a wicket, all designed in red. The Argus was to report that ‘Yesterday on behalf of the Deepdene and Balwyn committee who organised the event, Constable F. Kloster and Mrs. F Quin handed in a cheque for £150/3/9, representing the proceeds of a fete at Deepdene on behalf of the appeal fund’.deepdene, alfred hospital, fundraising buttons, badges

Frances Rigg was a local business identity in Kew, at one stage managing the local branch of the English, Scottish and Australian (ES&A) Bank at 175 High Street from c. 1920 until the 1940s. After Francis Rigg’s death, the collection of buttons and medallions was inherited by his son, Ken Rigg (1922-2014). The collection was subsequently donated to the Kew Historical Society in 2015 by Francis' grandson, Adrian Rigg, at the time of the Gallipoli & Beyond Commemoration in 2015. The collection covers a period of almost 40 years. The majority of the buttons are patriotic buttons, issued and sold during and immediately after the First World World War (1914-1918) to raise funds for national and overseas causes. The collection also includes a number of locally significant sporting event buttons and sporting club medallions, issued in the 1920s and 1930s.Patriotic and other pressed tin buttons and badges were produced in large numbers in the first decades of the twentieth century. By nature, insubstantial and ephemeral, they have not always survived. The collections of badges, buttons and medallions in the Kew Historical Society collection is homogenous and yet diverse, ranging from buttons sold to raise funds for the war efforts in 1914-18 and 1939-45, to those used at festivals and sporting events. Because of the manufacturing process, many surviving buttons and badges have been affected by inadequate storage, suffering from oxidisation and physical damage. These survivors are now historically and socially significant artefacts, revealing much about the attitudes and values of the period in which they were produced. Their widespread distribution means that they are frequently significant at a local, state, national and international level.Small circular pressed tinplate badge featuring a gold-bordered art nouveau style heart within a green wreath, surmounted by a yellow seven-pointed star, all on a brown background. The words ‘Discharged Soldiers’ Fund For Our Returned Soldiers’ feature within the heart, on a buff background. A gold and white border encloses the whole design.first world war (1914-18), patriotic buttons, badges

Frances Rigg was a local business identity in Kew, at one stage managing the local branch of the English, Scottish and Australian (ES&A) Bank at 175 High Street from c. 1920 until the 1940s. After Francis Rigg’s death, the collection of buttons and medallions was inherited by his son, Ken Rigg (1922-2014). The collection was subsequently donated to the Kew Historical Society in 2015 by Francis' grandson, Adrian Rigg, at the time of the Gallipoli & Beyond Commemoration in 2015. The collection covers a period of almost 40 years. The majority of the buttons are patriotic buttons, issued and sold during and immediately after the First World World War (1914-1918) to raise funds for national and overseas causes. The collection also includes a number of locally significant sporting event buttons and sporting club medallions, issued in the 1920s and 1930s.Patriotic and other pressed tin buttons and badges were produced in large numbers in the first decades of the twentieth century. By nature, insubstantial and ephemeral, they have not always survived. The collections of badges, buttons and medallions in the Kew Historical Society collection is homogenous and yet diverse, ranging from buttons sold to raise funds for the war efforts in 1914-18 and 1939-45, to those used at festivals and sporting events. Because of the manufacturing process, many surviving buttons and badges have been affected by inadequate storage, suffering from oxidisation and physical damage. These survivors are now historically and socially significant artefacts, revealing much about the attitudes and values of the period in which they were produced. Their widespread distribution means that they are frequently significant at a local, state, national and international level.A small white yellow and blue fundraising (sic) button with the initials or logo of ‘CE’ in the centre. It has been suggested that CE stands for Christian Endeavour. Christian Endeavour was run at most Churches of Christ in the early 20th century and perhaps comes from a member of the Kew East Church of Christ (1923-1993). CEchristian endeavour, religious badge, buttons

Frances Rigg was a local business identity in Kew, at one stage managing the local branch of the English, Scottish and Australian (ES&A) Bank at 175 High Street from c. 1920 until the 1940s. After Francis Rigg’s death, the collection of buttons and medallions was inherited by his son, Ken Rigg (1922-2014). The collection was subsequently donated to the Kew Historical Society in 2015 by Francis' grandson, Adrian Rigg, at the time of the Gallipoli & Beyond Commemoration in 2015. The collection covers a period of almost 40 years. The majority of the buttons are patriotic buttons, issued and sold during and immediately after the First World World War (1914-1918) to raise funds for national and overseas causes. The collection also includes a number of locally significant sporting event buttons and sporting club medallions, issued in the 1920s and 1930s.Patriotic and other pressed tin buttons and badges were produced in large numbers in the first decades of the twentieth century. By nature, insubstantial and ephemeral, they have not always survived. The collections of badges, buttons and medallions in the Kew Historical Society collection is homogenous and yet diverse, ranging from buttons sold to raise funds for the war efforts in 1914-18 and 1939-45, to those used at festivals and sporting events. Because of the manufacturing process, many surviving buttons and badges have been affected by inadequate storage, suffering from oxidisation and physical damage. These survivors are now historically and socially significant artefacts, revealing much about the attitudes and values of the period in which they were produced. Their widespread distribution means that they are frequently significant at a local, state, national and international level.Round metal button with green background. The Belgian flag is shown in the centre with words printed in white above and below it. It is likely that this button was sold to raise funds to support the Australian army who went to Belgium’s aid in the First World War.For Belgium For Honorfirst world war (1914-18), patriotic buttons, badges

Frances Rigg was a local business identity in Kew, at one stage managing the local branch of the English, Scottish and Australian (ES&A) Bank at 175 High Street from c. 1920 until the 1940s. After Francis Rigg’s death, the collection of buttons and medallions was inherited by his son, Ken Rigg (1922-2014). The collection was subsequently donated to the Kew Historical Society in 2015 by Francis' grandson, Adrian Rigg, at the time of the Gallipoli & Beyond Commemoration in 2015. The collection covers a period of almost 40 years. The majority of the buttons are patriotic buttons, issued and sold during and immediately after the First World World War (1914-1918) to raise funds for national and overseas causes. The collection also includes a number of locally significant sporting event buttons and sporting club medallions, issued in the 1920s and 1930s.Patriotic and other pressed tin buttons and badges were produced in large numbers in the first decades of the twentieth century. By nature, insubstantial and ephemeral, they have not always survived. The collections of badges, buttons and medallions in the Kew Historical Society collection is homogenous and yet diverse, ranging from buttons sold to raise funds for the war efforts in 1914-18 and 1939-45, to those used at festivals and sporting events. Because of the manufacturing process, many surviving buttons and badges have been affected by inadequate storage, suffering from oxidisation and physical damage. These survivors are now historically and socially significant artefacts, revealing much about the attitudes and values of the period in which they were produced. Their widespread distribution means that they are frequently significant at a local, state, national and international level.Metal badge with a printed illustration of a Red Cross flag and printed text on a red ink background surrounded by a white border. The Commonwealth Button Fund issued buttons of this design for a Victorian Red Cross appeal in July 1915. All funds raised during the appeal were to be used for the support of the Australian Red Cross and the servicemen in their care. Between 300,000-400,000 of these buttons were distributed."For Kith and Kin"patriotic buttons, badges, first world war 1914-1918

Frances Rigg was a local business identity in Kew, at one stage managing the local branch of the English, Scottish and Australian (ES&A) Bank at 175 High Street from c. 1920 until the 1940s. After Francis Rigg’s death, the collection of buttons and medallions was inherited by his son, Ken Rigg (1922-2014). The collection was subsequently donated to the Kew Historical Society in 2015 by Francis' grandson, Adrian Rigg, at the time of the Gallipoli & Beyond Commemoration in 2015. The collection covers a period of almost 40 years. The majority of the buttons are patriotic buttons, issued and sold during and immediately after the First World World War (1914-1918) to raise funds for national and overseas causes. The collection also includes a number of locally significant sporting event buttons and sporting club medallions, issued in the 1920s and 1930s.Patriotic and other pressed tin buttons and badges were produced in large numbers in the first decades of the twentieth century. By nature, insubstantial and ephemeral, they have not always survived. The collections of badges, buttons and medallions in the Kew Historical Society collection is homogenous and yet diverse, ranging from buttons sold to raise funds for the war efforts in 1914-18 and 1939-45, to those used at festivals and sporting events. Because of the manufacturing process, many surviving buttons and badges have been affected by inadequate storage, suffering from oxidisation and physical damage. These survivors are now historically and socially significant artefacts, revealing much about the attitudes and values of the period in which they were produced. Their widespread distribution means that they are frequently significant at a local, state, national and international level.A round pressed metal button in red, white and blue. The pale border is designed to look like a belt. The button was initially sold on the 24 March 1916, the day set aside as ‘Button Day For Our Fighting Men’ to raise funds for the servicemen fighting overseas."For Our Fighting Men"patriotic buttons, first world war (1914-18), badges