Found on a wood heap near the tractor shed. Only the top portion remains. The former fixture is the tapered top section of the wooden flagpole that formerly stood at the front of the head keepers quarters. There is a hole with attached metal pulley near the top which allowed for hoisting the flags to signal passing ships. Signal flags were hoisted on the flagpole and were used to communicate with passing shipping. Messages were then relayed by the overland telegraph line to Eden. Remains of black paint provide evidence of the blackout measures implemented during World War 11. The pole is currently fixed to a stand to allow for its display.The pole remnant has second level significance for its historic value and provenance.Top sction of a flagpole. At the top it is tapered and fashioned into a square section. Near the top of the pole is a hole with a metal pulley inside. There is black and white paint flaking off leaving bare wood.

A soldier's book produced almost entirely by soldiers in the field under active service conditions to send to their friends in Australia and abroad. Australian Lighthorse men is a type peculiar his own and has no counterpart in h is NZ brother. His fearlessness, initiative and endurance, and his adaptability to almost any task, are due to the adventurous life he leads in his own country where he has been accustomed to long hours in the saddle, day and night, and to facing danger of all sorts from his earliest youth.Brown front and back hardcover with dark brown text 'Australia in Palestine' with a light horseman framed in centre of front cover. The spine is green with text Australia in Palestine, Angus and Robertson bottom of spine. Evidence of water on front cover. Silverfish have eaten top right hand corner of first two pages. Farm scene in four boxes with AR in the lower corner of each square. Inside front and back covers are illustrations of a camel train and came corps in the desert with the rising sun in the background with a mountain. There is a grave and white cross in their foreground right lower corner Illustrations, photographs, poems, short stories, Centre foldout of the Battle for Richon Le Zion and Battle of Beersheba and after the Battle of Bir El Abed To the memory of fallen comrades. Pen mark inside W. Mathews Larabattle of beersheba, battle of richon ze zion, battle of bir er abd, camel corps, lighthorse, slush light, sir h.g. chauvel, mounted division at kantara, medical services, signal engineers, katia oasis, new zealand mounted troops, sir edmund h allenby, walers story, 5th lighthorse, romani, ww1, world war 1, australian army

Printed - 12 page foolscap, stapled on left hand side, 2 sections, Victorian State Parliamentary Report titled "Report - The Parliamentary Standing Committee on Railways on the Proposed Kew to Doncaster Electric Railway Extension", together with minutes of evidence, book of reference, plan and map, dated 4/12/1930. References a 1928 document, looks at construction costs, sites for railway stations, estimated revenue and expenditure, existing Kew line financials, town planning, bus services, MMTB input, tram services, alternatives, committee views, recommendations and a map of proposed routes, showing roads and tram services. Includes references to the Kodak estate and APM proposals at Fairfield. See Reg Item 2102.3 for the 1928 report.trams, tramways, doncaster, railways, public transport, kew

This photo is of the very newly constructed State Electricity Commission town of Mt. Beauty. The houses up to Nelse street were erected from 1946 onward and then the township was extended beyond Nelse Street in 1950 which places this photograph about 1950/51. There is no evidence of work being commenced on the regulating pondage but the tail race canal can be seen on the centre right of photo. The workmen's camp was enlarged in 1950 to the extent of providing accommodation for a total of 1,200. There are a number of dwellings on Simmonds Creek and the road to Falls Creek can clearly be seen. Snow capped Mt. Bogong is in the upper left of the photo with Mt. Beauty behind the township rising to Big Hill beyond that.Shows the newly constructed town of Mt. Beauty surrounded by farmland and before the regulating pondage was built to discharge water from the power stations via the West Kiewa tail race tunnel into the Kiewa River. Copy of black and white photograph of Mt Beauty CampWritten on the back in black ink - A Campenmt beauty camp, secv, construction town

This photo is of the very newly constructed State Electricity Commission town of Mt. Beauty. The houses up to Nelse street were erected from 1946 onward and then the township was extended beyond Nelse Street in 1950 which places this photograph about 1950/51. There is no evidence of work being commenced on the regulating pondage but the tail race canal can be seen on the centre right of photo. The workmen's camp was enlarged in 1950 to the extent of providing accommodation for a total of 1,200. There are a number of dwellings on Simmonds Creek and the road to Falls Creek can clearly be seen. Snow capped Mt. Bogong is in the upper left of the photo with Mt. Beauty behind the township rising to Big Hill beyond that.Shows the newly constructed town of Mt. Beauty surrounded by farmland and before the regulating pondage was built to discharge water from the power stations via the West Kiewa tail race tunnel into the Kiewa River. Black and white photographHand written on back of photograph "Mt. Beauty from Transmission Line"mt. beauty, construction, pondage, state electricity commission

These baby shoes show evidence of once having an additional embellishment on the toe, such as a bow, flower or pom pom. The label written into the bottom of the shoe indicates that it was made by Everbest. Everbest is a shoe company that was established in 1979 in Singapore and primarily sells in South East Asia. Their brand is centred around timeless elegance and quality, which this pair of baby shoes is in keeping with. The Mary Jane shoe was popularised in the early 20th century as a shoe for children regardless of gender. They began to be known as Mary Jane's because of the character of Mary Jane in the Mary Jane and Buster Brown comics, a series of advertisements by the Brown Shoe Company in the USA. They remain a classic style for women and children.These shoes are a record of a small part of the social history of Chiltern, as well as show the continuing popularity of this style of shoe through time. They are also a record that a product of a Singaporean company that primary sells in other countries in South East Asia was able to travel all the way to regional Victoria and be present in the collection of the Chiltern Athenaeum.Pair of pink leather mary jane style baby shoes with gold metallic label on inner soleInner Sole: Lesley Everbest / Baby Shoe / Size 0baby shoe, leather shoe, everbest, leather, shoe, baby clothes, leatherworking, singapore, chiltern, chiltern athenaeum, chiltern athenaeum museum, chiltern athenaeum collection

The Mayor's room was traditionally a private space in which the Mayor met with visitors and official guests. The signatures in this Visitor's Book reflect the breadth of community members who were received by Mayor's throughout the 20th century. From local people to overseas dignitaries their signatures are recorded for prosperity as evidence of their visit to Bendigo. Signatures include the Duchess and Duke of York (Later the King and Queen of England) who visited on the 28th April 1927 as part of their national visit which coincided with the opening of Parliament House in Canberra. Royals Prince Charles and Lady Diana signed the book on the April 15th, 1983 and Prime Minister John Howard and Members of Cabinet in 1998. Large tan leather and green cloth bound book. 390 lined pages each with three ruled vertical columns titled; Name, Address, Remarks. Marbled front and back end papers. Pages numbered top left or right of each page. Front end page has a small pink piece of paper pasted in centre with makers name and address on it. The book began being used on the 23rd March1900, with the last two pages featuring signatures of federal politicians who attended a Cabinet Meeting at the Bendigo Town Hall on the 21st July 1998.Spine; Embossed leather piece with Visitors Book written on it. Cover; Embossed leather piece with Mayor's Room Bendigo Visitors Bookcity of greater bendigo events, city of greater bendigo town hall, city of greater bendigo royal visits

From the Argus, Friday 18 July 1879:- SAFETY MINING CAGES. The report of the board on safety mining cages was laid on the table of the Legislative Assembly fortnight The board, which has tested the following inventions Nances, Williams patent, Jackson and Middleton's patent Sesmours patent, Allans patent, and Hassan a patent, reports as follows - 1. That the preponderance of evidence given by miners and others qualified to form an opinion is strongly in favour of the adop-tion of a safety cage for general use in the mines of this colony, provided that a reliable invention can be brought forward, and its practical utility satisfactorily determined 2. That in view of the rapid increase of cage accidents, and supported by the evidence before them, the board are of opinion that some special provision should be made to check such a prolific source of danger as is shown to exist in the working of the shaft and machinery employed for winding purposes. 3. That this check could be imposed by means of such a regulation as that at present contained in the statute, i e -" Every cage used in a mine shall be fitted with special and suitable appliances to prevent its sudden fall down a shaft and also to prevent its coming into contact with the poppet heads." The board, however, consider that mine proprietors should be permitted to exercise their own discretion in the selection of safety cages, but safety hooks and balance catches must be used in connexion with every case 4. That the board have witnessed trials of all the inventions brought under their notice, and from the result of their observations the members are of opinion that the adoption of these safety appliances will afford additional security to the large section of the community engaged in mining operations.48 foolscap pages report stitched together. safety cages, safety mining cages, george collins levey, mining, mitchell and osborne's patent safety catches for mining cages, mining cages, seymour's patent safety cage, pryor's safety cage, white's safety cage, mining accidents, dyke's freehold gmc creswick, angelo mining co castlemaine, britannia qmc ballarat, alexander kennedy smith, george r. fincham, henry roberts williams, robert clark, r. richardson, allan's patent balalrat, hassan's patent daylesford, david white, charles stewart, w.h. grainger, h.b. nicholas, t. hassan, r. allan, a.k. smith, james thomson, william collard smith, j.h. seymour, john s. delbridge, william buttle, james davidson, j.p. carolin, r. clark, thomas eyre, george marshall, g. thureau, william bottoms, robert carr, j.c. march, john keam, david park, j.a. lewis, lester's hotel, ballarat, robert allan, nancarrow saftey cage, robert malachi serjeant, robert henderson, g.f. smith, r.w. newman, william benson, f. bennett, john sharp, thomas couchman, john a. wallace, john small, william h. grainger, james cowling, tools

This strong, heavy bank safe was made by W. Marr in London. It was formerly owned by the ANZ Bank in Portland, Victoria. Portland’s ANZ Bank was originally a branch of the Bank of Australasia, which first came to Australia in 1835, opening in Sydney. Portland’s Bank of Australasia began in a bluestone building built on the north corner of Julia and Bentinck Streets by stonemason William Robb in 1855, around the time of Australia’s Gold Rush. Eventually, in 1951, the Bank of Australasia merged with the Union Bank to become the Australia & New Zealand Bank, known as the ANZ. Portland’s branch of the Bank of Australasia then moved into the old Union Bank building at 44 Percy Streets; both bank buildings were built around the same. The maker of this safe, W. (William) Marr, obtained a patent in 1834 for what is believed to be the first fire-retarding patent, building this into the lining of strong boxes. Others made further design improvements such as hardening the metal plates used to make the boxes. In about 1840 Thomas Milner, a Sheffield tinsmith, made the earliest safes that could safely protect their contents from a surrounding fire. This was achieved by including tubes of a substance between the inner and outer walls of the safe that would react to the heat and the contents would put the fire out. In 1851 an Exhibition at London’s Crystal Palace included fire-proof safes from different vendors. William Marr was listed under Fireproof Box Makers in the 1842 London Trades Directory, at 33 Broad Street, and 52 Cheapside. William Marr & Son were appointed to supply Her Majesty’s National Debt Office and other departments in 1860, with the address 9 Walbrook, Vulcan Safe Works, Skin Yard, Bankside, Southwark, London. 1n 1870 the address for William Marr listed under Safe Makers and Agents in the London Trades Directory was 67 Cannon Street. The manufacturer, W Marr, is significant as an inventor of a way to make a strong box fireproof, then patented his secure safe. This invention indicates that security of money was of great importance in the mid-1800s as it continues to be today. The secure safe would have given much comfort to those with investments and savings, as well as to the bank itself, the custodian of other people's money. This safe was made in London and exported to colonial Australia, giving significance to the safe as an item that was high in the list of the needs of the early Australians and their businesses. The safe has local historical significance as it was used by the original Bank of Australasia in Portland, which was built in 1855 and went on to become the ANZ Bank, still in operation today. The bank was an integral part of the establishment and growth of commerce in Colonial Victoria.Safe; heavy metal bank safe, painted green. Double doors each have top and bottom external hinges, and two front panels; the top panels are arched. The thick doors have five sliding locks. Inside is a fixed metal compartment with a locked sliding metal drawer, and several fitted shelves plus some temporary removable shelving. Both doors have a decorative brass knob near the centre opening. Left door has an oval artificial keyhole and a space where another fitting has been attached. The right door has a second brass knob and an oval keyhole. The top panels of the left door has an oval plaque with an inscription; the right door has evidence that there was an oval attachment. Made by W. Marr, London.Text embossed on plaque: "W. MARR / PATENTEE & MANUFACTURER / 52 / /CHEAPSIDE / LONDON" flagstaff hill, warrnambool, shipwreck coast, flagstaff hill maritime museum, flagstaff hill maritime village, maritime museum, great ocean road, shipwreck artefact, safe, bank safe, vault, security, finances, anz bank, portland bank, w marr, william w marr, financial institution, savings, gold exchange, loans, investments, safety, safe maker, lock maker, iron box, strong-room

Merle Hall Collection - Arts Council of Australia (Vic Div) Bendigo Branch Accounts Book 10/72-9/82. Balance Sheet and Statement of Receipts & Expenditure 1973 - 1976;Statement of Receipts & Payments 1978-1981; Statement of Receipts & Payments July- Feb 1982; Statement of Receipts & Payments March-September 1982.. The above accounts are printed accounts and were stuck into the Accounts Book in their relevant position by date - these are generally now loose due to loss of the cellulose tape. Page 1 (inside hard cover) is titled Annual Meeting 27/10/72 and the adjoining page gives evidence of a cellulose- attached sheet (not present). Intervening sheets between the printed sheets are hand-written records for the relevant year of Income and Expenditure.

A light ''camel coloured'' long silk skirt, with plain ''darted'' front and pleated fullness in the back. Two darts on either side of front, but some evidence that some alterations may have been made-possibly once three darts on either side, six pleats in back skirt. three either side of centre placket. Back waistband fastens with two metal hook and eyes. One metal press-stud in back placket appears as a later addition. Three 9cm deep bands on 1.5cm wide knife pleating circle the hemline. A band of ruched silk, edged with a band of 4cm deep lace is scalloped over the top layer of pleating. The lower edge of the skirt, under the pleated trim, has a lining of heavy cotton, cheesecloth, and muslin.costume, female, victorian skirt with pleating and lace

Joseph Butterworth COOMBS (1842-1901), was an accountant who founded a successful mercantile trading company. At the time of his marriage to Caroline Mary MICHEL in 1869, Coombs had already purchased ten acres of Studley Park. The acreage included land on the west of Fenwick Street that extended along lower Stawell Street to the corner of Yarra Street, all of it connected directly to the Yarra environs. A right of way to Studley Park Road was on the title, though Coombs went on to purchase more land, some of which faced Studley Park Road. In addition to owning the Studley Park acreage, Coombs later acquired 1,201 acres of land abutting the Acheron River. While retaining the Kew property he became a Taggerty Councillor and was Shire President for a time. J.B. Coombs died at Acheron Station in 1901 (aged 59 years). A few months after, tenders were called to repair the Kew dwelling, the Fenwick Street property now appearing in records with the name ‘Hope Mansell’. Caroline Coombs remained at Hope Mansell until she died in 1924, survived by three sons and five daughters. Not long after her death, advertisements appeared for the sale of the Studley Park land. The sale seems to have been a mechanism for distribution of the Estate, as the following year the original ten acre holding was transferred to members of the family. The eldest daughter Mabel married William Younger who, with his brother Alexander, developed Younger and Mackie Courts, both south of Studley Park Road. [Research: Kerry Fairbank]In 1961, the granddaughter of Joseph and Caroline Coombs, Mabel Isola (Younger) Grattan, donated ten 19th century dresses and parasols to the Kew Historical Society. The costumes, now known as the 'Coombs Collection', are the earliest recorded items of clothing to enter the Society's collection. Each of the items in the Coombs Collection, of which this item forms a part, is historically, aesthetically and socially significant. As a collection, the costumes includes outstanding examples of morning wear, day dresses, wedding dresses, and clothing accessories, providing evidence of outstanding dressmaker skills in Victoria during the mid to late Victorian period. One-piece, floor length blue silk day dress with a bell skirt that is slightly longer at the back. The dress is joined, centre-front with hooks and eyes. It is probable that the 19th century cream-coloured lace on the bodice and cuffs is a later addition. The lace extends in a long loop at the font of the skirt. The bodice has a high round neck, later modified to a V-shape. The dress must at one stage have been reconfigured or strengthened at the join of the bodice and skirt, as there is evidence of the use of new machine stitching. The dress is fully lined with a stiffened cotton lining fabric. Apart from minor staining, the dress is in excellent condition. The dress is the earliest complete costume in the collection. Measurements - 145.0 cm (centre back) 25.0 cm (waist, flat)Nilcoombs collection, fashion - 1860s, women's clothing, costumes, daywear

The City of Kew (1860-1994) was a municipality within the boundaries of suburban Melbourne, bordering on the inner suburbs. It was governed by a Council who employed council officers and workers. Services offered to ratepayers included garbage collection. Workers also carried our rubbish removal. From the evidence of photographs, garbage trucks has a semi-circular top with openings on the side of the top and at the rear. Rubbish carts were simple open top containers. Both garbage trucks and rubbish carts were drawn by horses and, in the interwar years and after, operated out of the Council Depot in High Street (formerly the 'horse tramway' sheds and later was to be replaced by the Kew Recreation Centre. The depot was on the corner of High and Disraeli Streets, kew. Small, original black and white positive photograph of a council worker, horse and rubbish cart. This rectangular cart has an open top. An unidentified house is in the background.Annotation in pencil by donor verso: "Kew Council Rubbish cart / Pre & during WWII / from Eliz Bentley"rubbish collection, garbage collection, rubbish carts, city of kew, council workers, horse-drawn vehicles, kew depot

The City of Kew (1860-1994) was a municipality within the boundaries of suburban Melbourne, bordering on the inner suburbs. It was governed by a Council who employed council officers and workers. Services offered to ratepayers included garbage collection. Workers also carried our rubbish removal. From the evidence of photographs, garbage trucks has a semi-circular top with openings on the side of the top and at the rear. Rubbish carts were simple open top containers. Both garbage trucks and rubbish carts were drawn by horses and, in the interwar years and after, operated out of the Council Depot in High Street (formerly the 'horse tramway' sheds and later was to be replaced by the Kew Recreation Centre. The depot was on the corner of High and Disraeli Streets, kew. Small, original black and white positive photograph of a City of Kew horse and garbage cart. The rectangular cart has a curved roof with openings at the side. A large door at the back allowed for the removal of garbage. K.C.C. is written on the side of the cart.Annotation in pencil by donor verso: "From E. Bennett / Kew City C'cil used during and after WW2 / from E. Bentley"rubbish collection, garbage collection, rubbish carts, city of kew, council workers, horse-drawn vehicles, kew depot

The City of Kew (1860-1994) was a municipality within the boundaries of suburban Melbourne, bordering on the inner suburbs. It was governed by a Council who employed council officers and workers. Services offered to ratepayers included garbage collection. Workers also carried our rubbish removal. From the evidence of photographs, garbage trucks has a semi-circular top with openings on the side of the top and at the rear. Rubbish carts were simple open top containers. Both garbage trucks and rubbish carts were drawn by horses and, in the interwar years and after, operated out of the Council Depot in High Street (formerly the 'horse tramway' sheds and later was to be replaced by the Kew Recreation Centre. The depot was on the corner of High and Disraeli Streets, kew. Small, original black and white positive photograph of a City of Kew garbage cart and two council workers. The rectangular cart has a curved roof with openings at the side. A large door at the back allowed for the removal of garbage. Annotation in pencil by donor verso: "From E. Bentley / used during and after WW2 / Kew Garbage Truck"rubbish collection, garbage collection, rubbish carts, city of kew, council workers, horse-drawn vehicles, kew depot

CAN VINH VIET CONG CHU Y. - Viet Cong Soldiers - Pay Attention. You have only just evidenced part of the destruction and death that is waiting for you. The powerful air forces of the Republic of Vietnam Armed Forces and our allies will wipe you out, your friends, and your bases. You only have one hope to remain alive - that is to rally immediately to the righteous side. You probably can't even imagine the destruction of the bombing that will continue to increase endlessly until you are completely wiped out. You can save yourself and your comrades... Rally to the righteous and just side immediately. On the reverse is a dead NVA/VC soldier with jets overhead.Psychological Warfare Pamphlet to say that the powerful Republic of Vietnam Armed Forces will destroy you. Picture of dead soldier and planes on the back.pamphlet, psycological warfare, propaganda, nva/vc, viet cong, terry michael collie, 7th battalion, 1st battalion, the royal australian regiment, 2790361

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