This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages.From Victorian Heritage Database citation for Heatherbrae HO46 https://vhd.heritagecouncil.vic.gov.au/places/120933 (as at 28/10/2020) "Heatherbrae" at 73 Neerim Road, Glenhuntly, is a substantial Victorian residential complex made up of two principal construction stages (pre 1876 and c. 1890) and outbuildings including stables. It is aesthetically, historically and socially significant. Its aesthetic value is demonstrated by the manner in which the two periods of construction survive, the earliest being of greater architectural interest on account of its tower and facade treatment, the latter phase adopting a common villa form. The importance of the complex is heightened by its intact state and surviving outbuildings. "Heatherbrae's" historical significance lies in its link with locally known business man and Shire of Caulfield councillor, John Charles Holland. Its social value rests on its ability to demonstrate a past lifestyle.Page 142 of Photograph Album with four photographs (three landscape, one portrait) of Heatherbrae on Neerim Road.Handwritten: "Heatherbrae" 73 Neerim Road [top right] / 142 [bottom right]trevor hart, verandah, chimneys, decorative brackets, cast iron columns, return verandah, garden, 1870's, intricate lacework, neerim road, booran road, 1880's, 1890's, mansion, john c. holland, bluestone foundations, italianate, iron roofed balcony, cast iron balustrade, balcony, ornamented pediment, mosaic tiles, cast iron lookout, flagpole, george f griffiths, mcgowan, tower, caulfield, heatherbrae, cast iron work, victorian style, john holland, porte-cochere porches, lead lights, george griffiths, mansions, stables, councillors, outbuildings

This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages. Victorian Heritage Database H0704 FORMER UNION CHURCH 84-86 ORRONG ROAD ELSTERNWICK https://vhd.heritagecouncil.vic.gov.au/places/428 The Former Union Church, Elsternwick, designed by the architect George de Lacy Evans, and erected in 1889-90 is a building of historical and architectural significance for the following reasons:- (1) it is a rare and well- developed example of the early French Gothic manner as popularised through the muscular Victorian re-interpretation of English architect William Burgess, which in turn were derived from the publications of EE Viollet-le-Duc. Other Victorian cases of detailing derived from Viollet-le-Duc include Barwon Park (1868), the Presbyterian Church at Skipton (1871), the Bourke Street West Police Station by Bindley and Brittingham (PWD) dating from 1888-9 and the Lutheran Manse, East Melbourne by JAB Koch (1890). However, none of these buildings relates closely in form to the Union Church, Elsternwick. The only building which has been identified as closely comparable is The Bairnsdale Court House by AJ Macdonald (PWD) which dates from 1892. (2) the use of bright red brickwork is of significance, as the Former Union Church is believed to be only the second church building in Victoria to employ this material as a matter of conscious choice. Amongst red brick churches, it is thought to be preceded only by Reed, Henderson And Smart's Sacred Heart (1884), a Renaissance inspired design. (3) the building is believed to be a rare, possibly unique, surviving example of a church building erected for dual use by the Congregationalists and Baptists. In 1894 it was bought by the Congregationalists and continued as a Congregational Church until the formation of the Uniting Church.Page 165 of Photograph Album with four photographs, two of a church with the other two of houses on Orrong Road.Handwritten: ELSTERNWICK CONGREGATIONAL CHURCH [under top left photo] / 82 ORRONG ROAD [under top right photo] / 663-1 ORRONG ROAD / SEMI - DETACHED PAIR / 165 [bottom left]trevor hart, elsternwick congregational church, king street, orrong road, church, elsternwick, red brick, former union church, early french gothic style, architects, george de lacy evans, baptist church, conical towers, houses

This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages. While the page heading says "Walter Burley Griffin arch", in fact Edward F. Billson designed it.From the Victorian Heritage Register Database - Citation for 45 Balaclava Road https://vhd.heritagecouncil.vic.gov.au/places/35562 (as at 12/10/2020) The house at 45 Balaclava Road, Caulfield North has architectural importance as an early example of the work of Edward F. Billson, whose work demonstrated the influence of the internationally distinguished American architect Frank Lloyd Wright and his one time colleague, Walter Burley Griffin with whom Billson worked in partnership for a period. It is presumed to be the earliest important example Billson's work and attains special importance as an early example of modern architecture in Australia, the earliest work of Griffin preceding it by only five years.Page 30 of Photograph Album with three photographs of the exterior of this double storey house and one photograph of a carport.Handwritten: Walter Burley Griffin arch. 45 Balaclava Road [top right] / Neg 272 [under top left photo] / Neg 270 [under top right photo] / Neg 262 [under bottom left photo] / Neg 264 [under bottom right photo] / 30 [bottom right] trevor hart, caulfield north, balaclava road, edward f. billson, frank lloyd wright, walter burley griffin, modern architecture, 1910's, gables, double storey houses, windows, attics, carports, gardens

This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages. From: Glen Eira Heritage Management Plan (1996) by Andrew Ward and Associates This Area is marked by the imposing brick and freestone gothic Revival church of the Holy Cross, built in 1937 to the design of O.H. Jorgensen. Church of the Holy Cross and Presbytery are contributory buildings to HO66.Page 65 of Photograph Album with one exterior photograph (landscape) of a brick church with a three storey tower.Hand written: Glenhuntly Rd [top left] / HOLY CROSS RC CHURCH / Dec 1972 [written underneath the photo] / 65 [bottom left] trevor hart, 1930's, gothic revival, brick, bell tower, spire, facade, catholic church, o h jorgensen, holy cross catholic church, caulfield, glenhuntly road, caulfield south, presbytery

This photograph is part of the Caulfield Historical Album 1972 but is noted as taken in 1922. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages. Caulfield Town Hall is now known as Glen Eira Town Hall.From Victorian Heritage Database: Citation for Town Hall, Corner Glen Eira and Hawthorn Roads - HO106 https://vhd.heritagecouncil.vic.gov.au/places/43613 as at (19/10/2020) The former City of Caulfield (now City of Glen Eira) Municipal Offices, located at the south-west corner of Hawthorn and Glen Eira Roads, Caulfield South, were commenced for the Borough of Caulfield in 1884 when they also included a Post and Telegraph Office and Court of Petty Sessions. They were designed by the Borough surveyor, Sydney Smith. The hall was completed in 1890 to the design of Alexander Rankin and the present hall, foyer and portico completed to the design of Goldsmith and Jenkin, architects, in 1931. The complex is historically, aesthetically and socially significant. It is historically significant {Criterion A) as the centre of Local Government services in the area since 1885 and as a centre of post and telegraph and legal services for a period. Its association with architect and Borough surveyor, Sydney W. Smith is important in that the east elevation and facade (ground floor level only)as far west as the tower (lower two stages) survive as evidence of his work, the practice which his son continued after his death in 1886, becoming highly successful. The work of Goldsmith and Jenkin is historically important in that it indirectly demonstrates the growth of the City sustained during the Inter-war period, the work proceeding in spite of the Depression. It compares with other similar work of that time including the refurbishment of the Malvern Municipal Offices and Hall in 1927 (Hudson and Wardrop), the Melbourne Corporation Offices and Hall in 1925-28 (Stephenson and Meldrum, A. and K. Henderson) and the Camberwell Offices and Council Chamber in 1924 (Leighton Irwin and Roy Stevenson), other comparable municipal projects being undertaken during the 1930s. Finally, the Goldsmith and Jenkin works are important as a project of the Depression years organised specifically to alleviate unemployment problems in the Municipality. The complex is aesthetically important (Criterion E) as a prominent and imposing Classically derived complex of its type with individually noteworthy interior spaces being the entry hall and staircase, main Hall, Foyer and Council Chamber. The Adamesque plasterwork, timber panelling and furniture, Art Nouveaux enrichment and Classically derived treatment with sparing use of Australian decorative motifs are contributory elements. Exterior .elements of note include the remains of the original design prepared by Sydney Smith and the clock tower and portico which have come to symbolise important Municipal complexes erected prior to the Second World War. The complex is socially important (Criterion G) for the value placed on it by the community which has made use of it for activities including that of Local government for well over a century.Page 75 of Photograph Album with one portrait photograph of the exterior of Caulfield Town Hall taken in 1922.Hand written: FEBRUARY 1922 [under photo] / 75 [bottom left] trevor hart, caulfield, glen eira, caulfield town hall, sydney smith, sydney w smith, adamesque plasterwork, art nouveaux, portico, council chambers, alexander rankin, foyer, local government, timber panelling, tower, unemployment, clock tower, hawthorn road, glen eira road, city of glen eira, municipal offices, palms, gardens, post and telegraph offices, goldsmith and jenkin, architects, city of caulfield, ivy clad walls, surveyors, depression 1929-1939, glen eira town hall

This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages. Glen Eira Heritage Management Plan 1996 by Andrew Ward The 1857 rate book indicates that the major portion of the District was under pasture, although a considerable portion was cultivated. There were 159 houses, huts and tents whose occupants were mainly occupied on the land. If "Camden Town" was the principal commercial focus for the District in 1857, it was to remain so in later years, incorporated today in the Glenhuntly Road centre which extends more or less continuously from Elsternwick to Bambra Road. The Caulfield State School of 1877, the horse tramway of 1889 and subsequently the electric trams were all events confirming the importance of Glenhuntly Road and the fledgling community of "Camden Town" wherein the City's commercial centre has its origins. It is recalled, today, by their presence, and also by the "London Tavern" in Hawthorn Road, established by John Guess in 1873. Dr Geulah Solomon's 4 volume book "Caulfield's Heritage" Vol 1 p 93: "A modern hotel presently on the site continues the name of the London Tavern." That was true until recent years as the hotel is named The Camden Hotel now (2021).Page 81 of Photograph Album with one landscape photograph of the front of the London Tavern with handwriting on the edge of the photograph.Hand written: LONDON TAVERN HOTEL 1937 [on bottom edge of photo] / 81 [bottom left] trevor hart, caulfield, hawthorn road, london tavern, camden town, john guess, hotels, pubs, victorian, 1870's, 1930's, sycamore street, the camden hotel

This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages.From Victorian Heritage Database citation for Rippon Lea H0614 https://vhd.heritagecouncil.vic.gov.au/places/427(as at 23/10/2020) Rippon Lea was commenced in 1868 by Frederick Sargood, a most successful politician and merchant. He was born in England in 1834 and arrived in Melbourne in 1850. He soon joined his father's wholesale soft goods firm, spending some time as its manager on the goldfields. Sargood entered the Legislative Council in 1874. He was Victoria?s first Minister for Defence in 1883. Sir Frederick Sargood was created CMG. In 1885 and KCMG in 1890 as a reward for his contribution to public life. He died suddenly in 1903. Rippon Lea was designed by the leading firm of architects, Reed and Barnes. Joseph Reed had travelled in Europe in 1863, including northern Italy. When he returned he introduced the use of polychromy. While not the first examples, Rippon Lea and the Independent Church in Collins Street were the best and set a fashion which became a distinctly Melbourne style, particularly used for houses and churches. Its popularity was possible because of the new availability of different coloured bricks. Reed's fine Lombardic Romanesque details soon became debased by others. As Sargood's family grew and his fortunes prospered, Rippon Lea was extended to include 33 rooms - a complete mansion. The cast iron porte cochere and the northern conservatory were added in 1897. The architects were Taylor and Fitts. The ballroom was added in 1882 and remodelled in 1889. Many alterations have changed the interior and exterior during the ownerships of Benjamin Nathan and later his daughter Mrs Louisa Jones in the 1930s and are in their own right of significance. Sir Thomas Bent owned the property from 1903 until 1911 but never lived there. He subdivided much of the land. The original garden dates from about 1868, and it seems that William Guilfoyle of the Botanic Gardens was involved. It was redesigned in a more natural style in the 1880s by Sargood and his head gardener, Adam Anderson. The lake, waterfalls, fernery, hill and grotto are balanced by mighty deciduous trees and conifers. These are interspersed with, but never dominated by Australian species such as eucalyptus and other exotics. The sinuous drive with its carefully prepared approach to the house is notable. The original vegetable gardens, orchard and outer paddocks no longer survive. The shade house is important as the largest known in Australia and possibly the world. Its curved plan and form of construction are particularly notable. It was built about 1884.Page 93 of Photograph Album with four photographs (two landscape and two portrait) of Ripponlea - lake and gardens.Handwritten: Neg 239 Dec 1973 LAKE [under top left photo] / Neg 242 Dec 1973 FERN HOUSE [under top right photo] / Neg 243 Dec 1972 FERN HOUSE [under bottom left photo] / Neg 241 Dec 1972 LAKE [under bottom right photo] / 93 [bottom left]trevor hart, elsternwick, mansion, hotham street, frederick sargood, sargood, reed and barnes, 1860's, 1890's, 1880's, benjamin nathan, nathan, louisa jones, thomas bent, sir thomas bent, william guilfoyle, adam anderson, lake, grotto, shade house, portico, ripponlea, victorian, sir frederick sargood, architects, taylor and fitts, rippon lea, gardens, ferns, bridges, walking trails

Ballarat University College was a predecessor of Federation University.Maroon card covered photograph album of Ballarat University College Graduation at Founders Hall, Mount Helen.ballarat university college, graduation, shirley falkinder, steve moneghetti, john sharpham, photograph album

Photographs.

2001, 2000sbialik college, theatre production, musical, 2000s

Sister Elizabeth Lindsey worked at the RVIB Nursery since it's inception in 1933. During her time there, she took photographs of the children, whom she had care of, documenting their life at RVIB as well as the wartime displacement to Olinda when the army took over the St Kilda Road building. Adopting one of her orphan charges, Sister Lindsay left RVIB in 1945. See the notes section for individual descriptions.1 x black photograph album with coloured embossed cover containing photographs, a newspaper clipping and card.barry farnsworth, brian sitlington, douglas clarkson, bobby bolter, ben hewitt, bill henderson, norm white, jessie rita, mae rita, thelma stewart, peggy penhall, helen boyd, heather stewart, margaret russell, lois allen, ian cooper, monty james, angelo harris, pamela wegg, nurse babs, nurse pierce, jimmy schultz, bertie glenister, margaret seary, alan nuske, harry parsons, shirley devine, joan morice, david ditchfield, don smith, nurse blair, alan woods, alan crotty, elaine dean (later leahy), hilda gammon, elaine mckenna, cyril minns, ernest wilson, gladys moncrieff, marjory pyvis, rvib nursery, sister elizabeth lindsey

The Melbourne artist Alma Agnes Marion Figuerola, was the daughter of Juan Pedro Narciso Figuerola (1869-1919) and Alice Lucinda Walker Hanson (1889-1969). Each of their three daughters grew up to be involved in the arts: Alma as a painter; Carmen Irene (1906-1993) as a short story writer, poet and teacher of dancing; and Sylvia (also Silvia) Lyla Alice (1911-1992) as a composer and cellist. The first art lessons Alma Figuerola received were with Oscar Binder. Later she attended the art school established by the Melbourne 'tonalist' [Duncan] Max Meldrum (1875-1955). She graduated from his school in 1920, participating in her first group exhibition in the same year. Solo exhibitions of her work were to be held in 1933 at the Meldrum Gallery in Elizabeth Street, in 1937 and 1945 at the Athenaeum Gallery at 188 Collins Street, and in 1951 at Georges Gallery in Collins Street. Throughout her extensive career she participated in group exhibitions, usually with artists of the Meldrum School, and as a member of the Twenty Melbourne Painters, of which she was invited to become an associate in 1935. In 1953, her portrait of Professor ES Hills was entered in the Archibald Prize Competition of the Art Gallery of New South Wales. A resident of Kew from the 1930s - 51 Studley Park Road, often with her mother, her sister Carmen, or both - from c.1942 until her death she lived at 'D’Estaville', 7 Barry Street. From the late 1930s she is recorded as actively contributing to the arts at a local level. In 1939 and 1940 she participated in art exhibitions at the Hawthorn Municipal Library organised by Jessie Carbines. From 1944 to 1951 she co-organised successive Kew Arts Festivals, initially in the Presbyterian Church Hall in Highbury Grove and later at the Recreation Hall in Wellington Street. A foundation member of the Kew Historical Society in 1958, Alma Figuerola remained an active member of the Society until her death on 8 December 1970. She predeceased her two sisters who both died in the 1990s and who are buried at Andersons' Creek Cemetery in Warrandyte.Undated photograph of the artist Alma Figuerola from her photograph album. The photograph is one of a number taken from the same photograph in different sizes.alma figuerola album, arists - kew (vic), artists - meldrum school, occupants - 7 barry street - kew (vic)

The Melbourne artist Alma Agnes Marion Figuerola, was the daughter of Juan Pedro Narciso Figuerola (1869-1919) and Alice Lucinda Walker Hanson (1889-1969). Each of their three daughters grew up to be involved in the arts: Alma as a painter; Carmen Irene (1906-1993) as a short story writer, poet and teacher of dancing; and Sylvia (also Silvia) Lyla Alice (1911-1992) as a composer and cellist. The first art lessons Alma Figuerola received were with Oscar Binder. Later she attended the art school established by the Melbourne 'tonalist' [Duncan] Max Meldrum (1875-1955). She graduated from his school in 1920, participating in her first group exhibition in the same year. Solo exhibitions of her work were to be held in 1933 at the Meldrum Gallery in Elizabeth Street, in 1937 and 1945 at the Athenaeum Gallery at 188 Collins Street, and in 1951 at Georges Gallery in Collins Street. Throughout her extensive career she participated in group exhibitions, usually with artists of the Meldrum School, and as a member of the Twenty Melbourne Painters, of which she was invited to become an associate in 1935. In 1953, her portrait of Professor ES Hills was entered in the Archibald Prize Competition of the Art Gallery of New South Wales. A resident of Kew from the 1930s - 51 Studley Park Road, often with her mother, her sister Carmen, or both - from c.1942 until her death she lived at 'D’Estaville', 7 Barry Street. From the late 1930s she is recorded as actively contributing to the arts at a local level. In 1939 and 1940 she participated in art exhibitions at the Hawthorn Municipal Library organised by Jessie Carbines. From 1944 to 1951 she co-organised successive Kew Arts Festivals, initially in the Presbyterian Church Hall in Highbury Grove and later at the Recreation Hall in Wellington Street. A foundation member of the Kew Historical Society in 1958, Alma Figuerola remained an active member of the Society until her death on 8 December 1970. She predeceased her two sisters who both died in the 1990s and who are buried at Andersons' Creek Cemetery in Warrandyte.Undated photograph of the artist Alma Figuerola from her photograph album. The photograph is one of a number taken from the same photograph in different sizes.alma figuerola album, arists - kew (vic), artists - meldrum school, occupants - 7 barry street - kew (vic)

The Kew Festival began in 1974. A feature of many festivals were the festival parades in which community groups participated. None of the photographs in the album are named so KHS welcomes viewers to identify participants and or locations.Photograph from an album depicting participants in the 1992 Kew Festivalkew festival - 1992

The Kew Festival began in 1974. A feature of many festivals were the festival parades in which community groups participated. None of the photographs in the album are named so KHS welcomes viewers to identify participants and or locations.Photograph from an album depicting participants in the 1992 Kew Festivalkew festival - 1992

The Kew Festival began in 1974. A feature of many festivals were the festival parades in which community groups participated. None of the photographs in the album are named so KHS welcomes viewers to identify participants and or locations.Photograph from an album depicting participants in the 1992 Kew Festivalkew festival - 1992

The Kew Festival began in 1974. A feature of many festivals were the festival parades in which community groups participated. None of the photographs in the album are named so KHS welcomes viewers to identify participants and or locations.Photograph from an album depicting participants in the 1992 Kew Festivalkew festival - 1992

The Kew Festival began in 1974. A feature of many festivals were the festival parades in which community groups participated. None of the photographs in the album are named so KHS welcomes viewers to identify participants and or locations.Photograph from an album depicting participants in the 1992 Kew Festivalkew festival - 1992

The Kew Festival began in 1974. A feature of many festivals were the festival parades in which community groups participated. None of the photographs in the album are named so KHS welcomes viewers to identify participants and or locations.Photograph from an album depicting participants in the 1992 Kew Festivalkew festival - 1992

The Kew Festival began in 1974. A feature of many festivals were the festival parades in which community groups participated. None of the photographs in the album are named so KHS welcomes viewers to identify participants and or locations.Photograph from an album depicting participants in the 1992 Kew Festivalkew festival - 1992

The Kew Festival began in 1974. A feature of many festivals were the festival parades in which community groups participated. None of the photographs in the album are named so KHS welcomes viewers to identify participants and or locations.Photograph from an album depicting participants in the 1992 Kew Festivalkew festival - 1992

The Kew Festival began in 1974. A feature of many festivals were the festival parades in which community groups participated. None of the photographs in the album are named so KHS welcomes viewers to identify participants and or locations.Photograph from an album depicting participants in the 1992 Kew Festivalkew festival - 1992

The Kew Festival began in 1974. A feature of many festivals were the festival parades in which community groups participated. None of the photographs in the album are named so KHS welcomes viewers to identify participants and or locations.Photograph from an album depicting participants in the 1992 Kew Festivalkew festival - 1992

The Kew Festival began in 1974. A feature of many festivals were the festival parades in which community groups participated. None of the photographs in the album are named so KHS welcomes viewers to identify participants and or locations.Photograph from an album depicting participants in the 1992 Kew Festivalkew festival - 1992

The Kew Festival began in 1974. A feature of many festivals were the festival parades in which community groups participated. None of the photographs in the album are named so KHS welcomes viewers to identify participants and or locations.Photograph from an album depicting participants in the 1992 Kew Festivalkew festival - 1992

The Kew Festival began in 1974. A feature of many festivals were the festival parades in which community groups participated. None of the photographs in the album are named so KHS welcomes viewers to identify participants and or locations.Photograph from an album depicting participants in the 1992 Kew Festivalkew festival - 1992

The Kew Festival began in 1974. A feature of many festivals were the festival parades in which community groups participated. None of the photographs in the album are named so KHS welcomes viewers to identify participants and or locations.Photograph from an album depicting participants in the 1992 Kew Festivalkew festival - 1992

The Kew Festival began in 1974. A feature of many festivals were the festival parades in which community groups participated. None of the photographs in the album are named so KHS welcomes viewers to identify participants and or locations.Photograph from an album depicting participants in the 1992 Kew Festivalkew festival - 1992

The Kew Festival began in 1974. A feature of many festivals were the festival parades in which community groups participated. None of the photographs in the album are named so KHS welcomes viewers to identify participants and or locations.Photograph from an album depicting participants in the 1992 Kew Festivalkew festival - 1992