A two-page list of Photographs by A. Doney of cast iron lacework in the Bendigo area. Items listed from number one to number twenty six.alan doney, bendigo, wrought iron

Cast iron lace was made in foundries in most cities. There were 42 such factories in Melbourne alone. It was cheaper to make than wrought iron. "Pig iron", iron ore was melted in a blast furnace, mixed with alloys and then poured into moulds usually made of sand. The alloys needed a minimum of 2% carbon.Black and White photos by A Doney of bench seats one showing fern detail and the other leaves and flowers.Photo A Doneyiron lace work, a doney, bench seats

CAst iron lace was made in foundries in most cities. There were 42 such factories in Melbourne alone. It was cheaper to make than wrought iron. "Pig iron", iron ore, was melted in a blast furnace, mixed with alloys a nd then poured into moulds usually made of sand. The alloys needed a minimum of 2% carbon.A black and white photograph by Alan Doney of Early Nurses House Lucan Street (Bendigo Base Hospital). Now incorporated in portion of present Nurses home A Doney Bendigo - Copyalan doney, bendigo, wrought iron

CAst iron lace was made in foundries in most cities. There were 42 such foundries in Melbourne alone. It was cheaper to make than wrought iron. "Pig iron"' iron ore, was melted in a blast furnace, mixed with alloys and poured into moulds usually made with sand. The alloys needed a minimum of 2% carbon.Black and White photo by A Doney of Balustrade on property on the corner of Forest and Barnard Streets Bendigo.A Doney Bendigoalan doney, bendigo, wrought iron, forest street bendigo, barnard street bendigo

Cast iron lace was made in foundries in most cities. There were 42 such foundries in Melbourne alone. It was cheaper to make than wrought iron. "Pig iron", iron ore, was melted in a blast furnace, mixed with alloys and poured into moulds usually med from sand. The alloys needed a minimum of 2% carbon.Black and White photo by A Doney of sandblasting iron lace work on unknown property in Bendigo. Two internal photos of door and arch ways. Larger photo of balustrade with verandah pillars in backgroundA Doney Bendigoalan doney, bendigo, wrought iron

Cast Iron lace was made in foundries in most cities. There were 42 such foundries in Melbourne alone. It was cheaper to make than wrought iron. "Pig iron", iron ore was melted in a blast furnace, mixed with alloys and then poured into moulds usually made of sand. The alloys needed a minimum of 2% carbon. Two black and white photographs by Alan Doney of the Spastic Centre in Don Street, Bendigo. Both photos shows detail of the wrought iron on the verandah. alan doney, bendigo, wrought iron, spastic children's society

Cast Iron lace was made in foundries in most cities. There were 42 such foundries in Melbourne alone. It was cheaper to make than wrought iron. "Pig iron", iron ore was melted in a blast furnace, mixed with alloys and then poured into molds usually made of sand. The alloys needed a minimum of 2% carbon. Three black and white photographs by Alan Doney of the residence 'Illira' at 57 Forest St, Bendigo. The first photo shows the front of the residence. The other two photos show detail of the wrought iron on the verandah. alan doney, bendigo, wrought iron, illira bendigo

"Clifton Villa", cnr Eyre and Winter Sts, Buninyong, was built c.1860 for Mr Newman. The red brick building has bluestone foundations, cast iron lacework verandah trim, high ornate gables, slate roof and unusual round brick chimneys with spiral brick decorations.Historically significant brick home built c.1860 for Mr Newman. Ornate decorations make this an unusual example of homes of the era.Colour photo of "Clifton Villa", cnr Eyre and Winter Sts, Buninyong. Built c.1860 for Mr Newman. The red brick building has bluestone foundations, cast iron lacework verandah trim, high ornate gables, slate roof and unusual round brick chimneys with spiral brick decorations."Clifton Villa 1862" Taken 1991clifton villa, eyre st, winter st, buninyong, newman

"Clifton Villa", cnr Eyre and Winter Sts, Buninyong, was built c.1860 for Mr Newman. The red brick building has bluestone foundations, cast iron lacework verandah trim, high ornate gables, slate roof and unusual round brick chimneys with spiral brick decorations.Historically significant brick home built c.1860 for Mr Newman. Ornate decorations make this an unusual example of homes of the era.Colour photo of "Clifton Villa", cnr Eyre and Winter Sts, Buninyong, viewed from Winter St. Built c.1860 for Mr Newman. The red brick building has bluestone foundations, cast iron lacework verandah trim, high ornate gables, slate roof and unusual round brick chimneys with spiral brick decorations."Clifton Villa 1862" Taken 1991clifton villa, eyre st, winter st, buninyong, newman

Part of series to record changes in BuninyongGrave of Buninyong Pioneer.A B/W and a colour photo, monument, polished granite, pillar on engraved plinth, urn cap, cast iron fence, for early settler George Innes and his daughter.. in Buninyong Cemetery.buninyong, cemetery, headstone, graves, innes, king of splitters, pound, buninyong defiance mine

Part of series to record changes in BuninyongGrave of Buninyong Pioneer.A B/W and a colour photo, monument, polished granite, pillar on engraved plinth, urn cap, cast iron fence, for early settler George Innes and his daughter.. in Buninyong Cemetery.buninyong, cemetery, headstone, graves, francis moss, tresise, apples

Cast iron gates commissioned from foundry at Castlemaine, for entrance to Buninyong Cemetery, Midland Highway. One pedestrian gate, one double gate. Gates acquired 1894. Originally olive green, gold-tipped spears. Painted white 1930s - 1940s. Damaged c1985, repaired by Mr Ron Nicholls, Buninyong. Repainted olive green 1992.Historically significant original gates acquired 1894.Buninyong Cemetery cast iron gatesbuninyong cemetery, gates, cast iron

The Arthur Dear Collection is a comprehensive collection of theatrical ephemera relating to performances by theatrical and musical organisations from within and outside the former City of Kew who performed at venues in Kew during the 1950s and 1960s.Historic photograph of a theatre productionPhotograph of a performance or a rehearsal of The Maid of the Moutains, performed by the Kew Light Opera Company in the Kew Recreation Hall in 1957.arthur dear collection, kew light opera company, the maid of the mountains

Subdivision plans are historically important documents used as evidence of the growth of suburbs in Australia. They frequently provide information about when the land was sold on which a built structure was subsequently constructed as well as evidence relating to surveyors and real estate and financial agents. The numerous subdivision plans in the Kew Historical Society's collection represent working documents, ranging from the initial sketches made in planning a subdivision to printed plans on which auctioneers or agents listed the prices for which individual lots were sold. In a number of cases, the reverse of a subdivision plan in the collection includes a photograph of a house that was also for sale by the agent. These photographs provide significant heritage information relating house design and decoration, fencing and household gardens. The photograph is also aesthetically significant as it was taken by J. E. Barnes, a nationally significant photographer. He was the most important photographer to have worked in Kew. He was active as a photographer in the district from c.1906 until his death in 1921. Best known as 'the Embarkation Photographer' (see the Australian War Memorial collection), Josiah Earl Barnes was also the official photographer employed by the Borough (and later Town, then City) of Kew. He clearly also completed commercial jobs for local businesses, as is the case in this photograph of a house for a local real estate and financial agent. A modest weatherboard house with rough-cast rendered walls. The gabled entrance incorporates elements of the Japanese aesthetic. The strong lines of the dark timber gable are reinforced by the colour and shape of the pickets in the fence. In contrast to an earlier period, the chimneys appear truncated. The use of extensive double-hung sash windows in the front rooms reflects a new interest in light in houses. The use of separate sunshades over windows in an earlier period is here replaced by an extension of the roofline over the window. The photographer Josiah Barnes died in 1921; so, the photograph of the house must predate this date. The location of the house, which was advertised for sale, has to date not been identified. Illegible inscription. Photographer's information on mount.josiah earl barnes, j e barnes, photography - kew, interwar housing - victoria, 1920s housing - kew

The Kew Historical Society's map collection includes a substantial number of real estate subdivision plans, mainly of Kew but also of surrounding suburbs in Melbourne. Most of the subdivision plans date from the 1920s and 1930s when the districts old homes and local farmland were being split up to accommodate residential growth in the postwar period. These early plans were assembled by a local firm, Jas R Mather & McMillan, which had an office in Cotham Road. Many of the plans, and sometimes photos, were annotated by the agents.Subdivision plans are historically important documents used as evidence for the growth of suburbs in Australia. They frequently provide information about when the land was sold as well as evidence relating to surveyors and real estate and financial agents. The numerous subdivision plans in the Kew Historical Society's collection represent working documents, ranging from the initial sketches made in planning a subdivision to printed plans on which auctioneers or agents listed the prices for which individual lots were sold. In a number of cases, the reverse of a subdivision plan in the collection includes a photograph of a house that was also for sale by the agent. These photographs provide significant heritage information relating house design and decoration, fencing and household gardens.The photograph may also be aesthetically significant depending o the importance of the photographic atelier.Real estate photographs of a classic double-fronted late Victorian brick villa. It central location in Cotham Road, Kew enabled the selling agent to note its proximity to the tram. With seven rooms, all ‘modern conveniences’, and land of 66×167, the house was to be sold for £1100. The villa has a number of interesting features including a pattern within the slate roof as well as the use of polychrome brickwork under the eaves and on the façade. The intricacy of the cast iron lace is emphasised by the line of projecting wooden blocks above it. The picket gate is painted a different colour to the pickets of the fence. The house has a name (illegible) that is attached to the inset cast iron lace of the central projecting gable in the veranda. Stamped on mount: "Kew. Central. Close tram. / Comfortable Brick Villa. / Containing 7 rooms / Modern conveniences: / Land 66 x 167. Sold 1100 pounds:"houses - kew, victorian villas, real estate photographs, cotham road - kew

The Kew Historical Society's map collection includes a substantial number of real estate subdivision plans, mainly of Kew but also of surrounding suburbs in Melbourne. Most of the subdivision plans date from the 1920s and 1930s when the districts old homes and local farmland were being split up to accommodate residential growth in the postwar period. These early plans were assembled by a local firm, Jas R Mather & McMillan, which had an office in Cotham Road. Many of the plans, and sometimes photos, were annotated by the agents.Subdivision plans are historically important documents used as evidence for the growth of suburbs in Australia. They frequently provide information about when the land was sold as well as evidence relating to surveyors and real estate and financial agents. The numerous subdivision plans in the Kew Historical Society's collection represent working documents, ranging from the initial sketches made in planning a subdivision to printed plans on which auctioneers or agents listed the prices for which individual lots were sold. In a number of cases, the reverse of a subdivision plan in the collection includes a photograph of a house that was also for sale by the agent. These photographs provide significant heritage information relating house design and decoration, fencing and household gardens.The photograph may also be aesthetically significant depending on the importance of the photographic atelier.An elevated, modest weatherboard house, photographed towards the end of the construction phase. The lower section of the weatherboards are exposed and stained. The upper section is rendered with rough-cast. The tiled roof has a single gable that extends over the centrally placed front porch. On the porch, the door and single sidelight are filled with coloured leadlight whereas the casement windows in the front rooms contain plain glass. The leadlight and the wrought iron of the verandah are the only decorative elements of the utilitarian design. The location of the house, which was advertised for sale, has not to date been identified. The real estate photograph is mounted on the reverse of a subdivision plan for the Harvest Home Estate, Kew East.Photographer's stamp, lower right on mount: "A. Aberline, Glenferrie"houses - kew, bungalows - kew, real estate photographs

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)

Clutha was the home of John Carson, the second mayor of Kew. Leonard Terry designed the house for him in 1856. Terry was the architect of the Melbourne Club (1858), the former London Chartered Bank (1861), Lothian Terrace in Carlton (1865), and the ES&A Bank in Hawthorn (1873). The commission for Clutha was won three years after Terry’s arrival in Victoria.An extremely rare photograph of a major residential architectural commission of Leonard Terry. The photograph of the house has statewide significance as the home of the Victorian pioneer and businessman, John Carson. A rare, nineteenth century photograph of ‘Clutha’ in Studley Park Road, Kew. The sepia-toned photograph is of the front of the house, with its bluestone foundations and its second storey balcony. A real estate advertisement in 1875 described the house as: 'First-class family mansion, and about 8½ acres of pleasure grounds and fruit garden. The house, erected under the plans and supervision of Mr. Leonard Terry, is most substantially built of brick, stuccoed, on solid bluestone pediment, forming a noble basement story, large entrance hall, and lobby, with conservatory on the left. *** A wide verandah and balcony, erected on cast-iron columns, runs round the house, the views from which are perhaps unequalled in extent and beauty in the neighbourhood of the city, commanding the bay, shipping, Mount Macedon, and Dandenong Ranges. Th e whole forming a most complete gentleman's residence, no expense having been spared in its erection and comfortable finish.'"Clutha West Side Studley Park Road Kew / Clutha West Side"clutha, john carson, leonard terry

Nita Green was a member the Society and owner of Reno in St John's Parade, Kew. She was clearly a skilled photographer from the examples of photographs taken by and processed by her.Front fences of two two-storey houses at the south end of Highbury Grove. The cast iron pickets have since been replaced by high brick walls."Front entrance to home Highbury Grove opposite former Presbyterian Hall & Manse / Donated by and taken by Nita Green, 1979"houses -- highbury grove -- kew (vic.), fences -- kew (vic.)

Architect and surveyor, Albert Purchas, is believed to be the designer of the cast iron entrance gates (1889), the rotunda (1890) and the surrounding ornamental brick wall (1895–6), as well as various additions to the original 1860 Cottage in the period 1866–1899 including the clock tower.Colour print positive photograph of the restored rotunda, surrounded by graves in the Boroondara (Kew) Cemetery.Nil

'Mandalay' at 3 Molesworth Street, Kew was originally named 'Kaikoura'. Pru Sanderson's 'Kew Urban Conservation Study' (1988) describes the house as: "The first documentary evidence of this property records that William Dawson was the original owner and occupier of this substantial two-storey mansion, built at the outset of the economic depression of the 1890s. Having an initial N.A.V. of £120 4, the house was occupied by Dawson until at least 1904. This two-storeyed rendered house is Italianate in styling and is dominated by a two-storeyed loggia that spans two facades. At ground floor level it is supported on coupled cast iron colonettes and above has single colonettes that support stilted segmental arches. The house is quite typical of its time, however it bears a strong resemblance to 39 Sackville Street probably by Beswicke and Coote (q.v.), and 'Kawarau'.in Hawthorn, designed by Coote. The similarity of these buildings and the fact that Beswicke and Coote called tenders for a house in Molesworth Street, both suggest that this house was also by that firm.Large original, black and white print positive photograph of 3 Molesworth Street, Kew The two storey Italianate mansion has a double loggia and two bay windows on the side of the property. A car is parked in front.manadaly - molesworth street (kew), historic houses -- kew, italianate architecture -- kew (vic.), kaikoura -- molesworth street -- kew (vic.), beswicke & coote

The first section of Studley House, now part of the preparatory school for Xavier College conducted by the Society of Jesus in Kew, was built in about 1857 for Parliamentarian John Hodgson, an early settler in the district, as a two-storey residence in the Classical Revival style. The name Studley House was first recorded in the Kew ratebooks in 1862, after the house was purchased in 1860 by James McEvoy, squatter. Alterations and an extension, designed by William J Ellis were undertaken in 1875. The house was again altered in 1919 during the ownership of John Wren, former bookmaker, ALP lobbyist, influential Irish-Catholic and millionaire. After 1969 the house was used by the school. (Victorian Heritage Database, 2023)This work forms part of the collection assembled by the historian Dorothy Rogers (1905-1973), donated to the Kew Historical Society by her son in 2015. The manuscripts, photographs, maps, and documents were sourced by her from both family and local collections or produced as references for her print publications. Many were directly used by Rogers in writing ‘Lovely Old Homes of Kew’ (1961) and 'A History of Kew' (1973), or the numerous articles on local history that she produced for suburban newspapers. Most of the photographs in the collection include detailed annotations in her hand. The Rogers Collection provides a comprehensive insight into the working habits of a historian from the 1960s to the 1970s. Original monochrome photograph of the view from the first floor verandah of Studley House in Nolan Avenue, Kew. The photo shows the detail of the cast iron lace work used on this section of the verandah.Annotation verso: "Lovely lacework of the balcony Studley House"dorothy rogers, studley house -- nolan avenue (kew)

The current site of the Kew Recreation Centre in High Street Kew previously housed the Kew Depot on the corner of Disraeli Street. In nearby Derby Street, a number of original Victorian era buildings were gradually replaced due to development of the Baths precinct and commercial development.This work forms part of the collection assembled by the historian Dorothy Rogers (1905-1973), donated to the Kew Historical Society by her son in 2015. The manuscripts, photographs, maps, and documents were sourced by her from both family and local collections or produced as references for her print publications. Many were directly used by Rogers in writing ‘Lovely Old Homes of Kew’ (1961) and 'A History of Kew' (1973), or the numerous articles on local history that she produced for suburban newspapers. Most of the photographs in the collection include detailed annotations in her hand. The Rogers Collection provides a comprehensive insight into the working habits of a historian from the 1960s to the 1970s. Small single fronted cottage in Derby Street, Kew. The weatherboard cottage has a block fronted facade, and a Victorian verandah with cast iron lace.Annotation verso: "House in Derby St., next to Kew Baths (Demolished?)"dorothy rogers, derby street (kew), victorian houses -- kew (vic.)

This work forms part of the collection assembled by the historian Dorothy Rogers (1905-1973), donated to the Kew Historical Society by her son in 2015. The manuscripts, photographs, maps, and documents were sourced by her from both family and local collections or produced as references for her print publications. Many were directly used by Rogers in writing ‘Lovely Old Homes of Kew’ (1961) and 'A History of Kew' (1973), or the numerous articles on local history that she produced for suburban newspapers. Most of the photographs in the collection include detailed annotations in her hand. The Rogers Collection provides a comprehensive insight into the working habits of a historian from the 1960s to the 1970s. Small single fronted cottage in Gladstone Street, Kew. The weatherboard cottage has a block fronted facade, and a Victorian verandah with cast iron lace.Annotation verso: "Mr Williams cottage in Gladstone St, Kew. He was Miss Louisa Henty's coachman. Hailed from West Indies. Built about 1900."dorothy rogers, victorian houses -- kew (vic.), houses -- gladstone street (kew), louisa henty, gardeners -- kew (vic.)

The current site of the Kew Recreation Centre in High Street Kew previously housed the Kew Depot on the corner of Disraeli Street. In nearby Derby Street, a number of original Victorian era buildings were gradually replaced due to development of the Baths precinct and commercial development.This work forms part of the collection assembled by the historian Dorothy Rogers (1905-1973), donated to the Kew Historical Society by her son in 2015. The manuscripts, photographs, maps, and documents were sourced by her from both family and local collections or produced as references for her print publications. Many were directly used by Rogers in writing ‘Lovely Old Homes of Kew’ (1961) and 'A History of Kew' (1973), or the numerous articles on local history that she produced for suburban newspapers. Most of the photographs in the collection include detailed annotations in her hand. The Rogers Collection provides a comprehensive insight into the working habits of a historian from the 1960s to the 1970s. Small single fronted cottage in Derby Street, Kew. The weatherboard cottage has a block fronted facade, and a Victorian verandah with cast iron lace.dorothy rogers, derby street (kew), victorian houses -- kew (vic.)

The first section of Studley House, now part of the preparatory school for Xavier College conducted by the Society of Jesus in Kew, was built in about 1857 for Parliamentarian John Hodgson, an early settler in the district, as a two-storey residence in the Classical Revival style. The name Studley House was first recorded in the Kew ratebooks in 1862, after the house was purchased in 1860 by James McEvoy, squatter. Alterations and an extension, designed by William J Ellis were undertaken in 1875. The house was again altered in 1919 during the ownership of John Wren, former bookmaker, ALP lobbyist, influential Irish-Catholic and millionaire. After 1969 the house was used by the school. (Victorian Heritage Database, 2023)This work forms part of the collection assembled by the historian Dorothy Rogers (1905-1973), donated to the Kew Historical Society by her son in 2015. The manuscripts, photographs, maps, and documents were sourced by her from both family and local collections or produced as references for her print publications. Many were directly used by Rogers in writing ‘Lovely Old Homes of Kew’ (1961) and 'A History of Kew' (1973), or the numerous articles on local history that she produced for suburban newspapers. Most of the photographs in the collection include detailed annotations in her hand. The Rogers Collection provides a comprehensive insight into the working habits of a historian from the 1960s to the 1970s. Original monochrome photograph of the first floor verandah of Studley House in Nolan Avenue, Kew. The photo shows the detail of the cast iron lace work used on this section of the verandah.dorothy rogers, studley house -- nolan avenue (kew)

The first section of Studley House, now part of the preparatory school for Xavier College conducted by the Society of Jesus in Kew, was built in about 1857 for Parliamentarian John Hodgson, an early settler in the district, as a two-storey residence in the Classical Revival style. The name Studley House was first recorded in the Kew ratebooks in 1862, after the house was purchased in 1860 by James McEvoy, squatter. Alterations and an extension, designed by William J Ellis were undertaken in 1875. The house was again altered in 1919 during the ownership of John Wren, former bookmaker, ALP lobbyist, influential Irish-Catholic and millionaire. After 1969 the house was used by the school. (Victorian Heritage Database, 2023)This work forms part of the collection assembled by the historian Dorothy Rogers (1905-1973), donated to the Kew Historical Society by her son in 2015. The manuscripts, photographs, maps, and documents were sourced by her from both family and local collections or produced as references for her print publications. Many were directly used by Rogers in writing ‘Lovely Old Homes of Kew’ (1961) and 'A History of Kew' (1973), or the numerous articles on local history that she produced for suburban newspapers. Most of the photographs in the collection include detailed annotations in her hand. The Rogers Collection provides a comprehensive insight into the working habits of a historian from the 1960s to the 1970s. Original monochrome photograph of the first floor verandah of Studley House in Nolan Avenue, Kew. The photo shows the detail of the cast iron lace work used on this section of the verandah.dorothy rogers, studley house -- nolan avenue (kew)

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

This photograph was printed from a glass negative held in the Society's picture collection. The original glass negative is part of a set donated to the Society by Ian McKenzie, a professional photographer in Kew. The Cast and Audience, ca. 1900 - ca. 1920. The cast and audience at a theatrical event. What appear to be adult performers are seated in the first two rows. [It was once believed that the photograph was of a gathering in the Kew Recreation Hall in Wellington Street (now demolished), however the vaulted ceiling is not the same.] theatre productions, glass negatives

The Kew Light Opera Company was formed in 1952, and mounted a number of musical and variety productions each year until it was subsumed in the "Q" Theatre Guild in 1957. A partial record of performances by the company includes: 1952 Florodora, 1953 The Cingalee - San Toy or The Emperor's Own, 1954 While the Sun Shines - A Country Girl - Our Miss Gibbs, 1955 The Toreador - The Arcadians, 1956 The Maid of the Mountains - Whiteoaks - Goodnight Vienna!, 1957 A Country Girl. Most of the Company's performances took place in the Kew Recreation Hall in Wellington Street, Kew. The scrapbook of annotated photographs, programmes, and newspaper reviews of which this item is a part was assembled by Marion Tilley, wardrobe mistress for, and performer in, productions by the Kew Light Opera Company and the "Q" Theatre Guild. It is significant as a remarkably complete document of theatre performances in Kew, Victoria during the 1950s and 1960s. The scrapbook, and the items individually catalogued within it, have artistic and aesthetic significance within the history of performing arts in Victoria in the middle of the 20th Century. They have social significance in that they reveal socio-cultural values and preoccupations during the period. The records also act as a history of arts activities in the Kew Recreation Hall and later in the Kew City Hall as entertainment and community arts and music precincts.Black and white photograph of performers in San Toy OR The Emperor's Own. San Toy was a "Chinese" musical comedy in two acts, first performed at Daly's Theatre, London, on 21 October 1899. The book was written by Edward Morton, and the musical score was written by Sidney Jones with lyrics by Harry Greenbank and Adrian Ross. Additional songs were written by Lionel Monckton. The photograph of the cast on stage includes 'Betty', far right. This may have been Betty Eames, Betty Wilson or Betty Crowe. The scenery was by Alexander and Day and the production directed by Lance Nicholls in the Kew Recreation Hall.Arrow and name 'Betty' beside right of photo.performing arts -- kew (vic.), scrapbooks, marion tilley collection, kew light opera company, kew recreation hall, musical comedy -- melbourne -- victoria