Lieutenant Colonel J.M. Allard was Commanding Officer of 8th/13th Victorian Mounted Rifles 1959 - 1962. He had served with 2/4th Armoured Regiment in WW2 The 8th/13th Victorian Mounted Rifles was raised as a regiment of the Royal Australian Armoured Corps on 1 May 1948 with Headquarters in Melbourne and squadrons in Sale, Benalla/Wangaratta and Albury. In 1955 Regimental Headquarters moved to Wangaratta and a second squadron was located at Albury. The Sale squadron transferred to 4th/19th Prince of Wales’s Light Horse. In 1977 8/13 VMR Regiment was reduced to an independent squadron A Squadron 8th/13th Victorian Mounted Rifles and in 1991 was linked with 4th/19th Prince of Wales’s Light Horse forming the VMR Squadron of that regiment. One of a collection of photographic portraits of Commanding Officers and Officers Commanding of the regiment/independent squadron from its inception in 1947 to its linking with 4th/19th Prince of Wales’s Light Horse in 1991. Framed black and white photograph of officer wearing black beret with emu plumes behind 8th/13th Victorian Mounted Rifles hat badge. Inscription panel on lower frame." Lt. Col. J.M. Allard ED 1959 - 1962 "military, allard, portrait, uniform

The 8th/13th Victorian Mounted Rifles was raised as a regiment of the Royal Australian Armoured Corps on 1 May 1948 with Headquarters in Melbourne and squadrons in Sale, Benalla/Wangaratta and Albury. In 1955 Regimental Headquarters moved to Wangaratta and a second squadron was located at Albury. The Sale squadron transferred to 4th/19th Prince of Wales’s Light Horse. In 1977 8/13 VMR Regiment was reduced to an independent squadron A Squadron 8th/13th Victorian Mounted Rifles and in 1991 was linked with 4th/19th Prince of Wales’s Light Horse forming the VMR Squadron of that regiment.One of a collection of photographic portraits of Commanding Officers and Officers Commanding of the regiment/independent squadron from its inception in 1947 to its linking with 4th/19th Prince of Wales’s Light Horse in 1991. Framed black and white photograph of gentleman in Mess jacket with lapel badges. Inscription on lower frame. " Lt. Col. T. Fogarty 1948 - 1955 "military, fogarty, officer

The 8th/13th Victorian Mounted Rifles was raised as a regiment of the Royal Australian Armoured Corps on 1 May 1948 with Headquarters in Melbourne and squadrons in Sale, Benalla/Wangaratta and Albury. In 1955 Regimental Headquarters moved to Wangaratta and a second squadron was located at Albury. The Sale squadron transferred to 4th/19th Prince of Wales’s Light Horse. In 1977 8/13 VMR Regiment was reduced to an independent squadron A Squadron 8th/13th Victorian Mounted Rifles and in 1991 was linked with 4th/19th Prince of Wales’s Light Horse forming the VMR Squadron of that regiment.One of a collection of photographic portraits of Commanding Officers and Officers Commanding of the regiment/independent squadron from its inception in 1947 to its linking with 4th/19th Prince of Wales’s Light Horse in 1991. Framed black and white photograph of officer wearing black beret with 8th/13th Victorian Mounted hat badge. Inscription panel on lower frame." Lt. Col. Hibberd ED EM 155 - 1959 "military, hibberd, vmr, uniform

Lieutenant Colonel MW Fairless transferred from the Royal Australian Artillery when he took up a posting in Albury with the Commonwealth Bank. He was Commanding Officer of 8/13 VMR 1965 - 1969. The 8th/13th Victorian Mounted Rifles was raised as a regiment of the Royal Australian Armoured Corps on 1 May 1948 with Headquarters in Melbourne and squadrons in Sale, Benalla/Wangaratta and Albury. In 1955 Regimental Headquarters moved to Wangaratta and a second squadron was located at Albury. The Sale squadron transferred to 4th/19th Prince of Wales’s Light Horse. In 1977 8/13 VMR Regiment was reduced to an independent squadron A Squadron 8th/13th Victorian Mounted Rifles and in 1991 was linked with 4th/19th Prince of Wales’s Light Horse forming the VMR Squadron of that regiment.One of a collection of photographic portraits of Commanding Officers and Officers Commanding of the regiment/independent squadron from its inception in 1947 to its linking with 4th/19th Prince of Wales’s Light Horse in 1991. Framed black and white photograph of officer wearing black beret with 8th/13th Victorian Mounted Rifles hat badge. Inscription on lower frame." Lt. Col. M.W. Fairless ED 1965 - 1969 "military, fairless, uniform, vmr

Major Ian Docking Joined 8/13 VMR as a trooper. He rose through the ranks and became Officer Commanding ' A ' Squadron, 8/13 VMR 1982 - 1986. The 8th/13th Victorian Mounted Rifles was raised as a regiment of the Royal Australian Armoured Corps on 1 May 1948 with Headquarters in Melbourne and squadrons in Sale, Benalla/Wangaratta and Albury. In 1955 Regimental Headquarters moved to Wangaratta and a second squadron was located at Albury. The Sale squadron transferred to 4th/19th Prince of Wales’s Light Horse. In 1977 8/13 VMR Regiment was reduced to an independent squadron A Squadron 8th/13th Victorian Mounted Rifles and in 1991 was linked with 4th/19th Prince of Wales’s Light Horse forming the VMR Squadron of that regiment.One of a collection of photographic portraits of Commanding Officers and Officers Commanding of the regiment/independent squadron from its inception in 1947 to its linking with 4th/19th Prince of Wales’s Light Horse in 1991. Framed black and white photograph of officer wearing black beret with 8th/13th Victorian Mounted Rifles hat badge. Inscription panel on lower frame. " Maj. I. Docking RFD NM 1982 - 1986 "military, docking, officer, uniform

Major Michael Annett, an Australian Regular Army Officer, became Officer Commanding VMR Squadron 4th/19th Prince of Wales's Light Horse 1993 - 1994, then later was Commanding Officer of the Regiment in 2000One of a collection of photographic portraits of Commanding Officers and Officers Commanding of the regiment/independent squadron from its inception in 1947 to its linking with 4th/19th Prince of Wales’s Light Horse in 1991. Framed black and white photograph of officer wearing black beret with 8th/13th Victorian Mounted Rifles hat badge. Inscription panel on lower frame." Maj. M. Annett 93 - 94 / 2000 C.O. 4/19 PWLH military, uniform, officer, vmr

Major Gordon Cole joined 8th/13th VMR as a trooper. He rose through the ranks to become Officer Commanding ' A " Squadron 8/13 VMR 1980 - 1982. The 8th/13th Victorian Mounted Rifles was raised as a regiment of the Royal Australian Armoured Corps on 1 May 1948 with Headquarters in Melbourne and squadrons in Sale, Benalla/Wangaratta and Albury. In 1955 Regimental Headquarters moved to Wangaratta and a second squadron was located at Albury. The Sale squadron transferred to 4th/19th Prince of Wales’s Light Horse. In 1977 8/13 VMR Regiment was reduced to an independent squadron A Squadron 8th/13th Victorian Mounted Rifles and in 1991 was linked with 4th/19th Prince of Wales’s Light Horse forming the VMR Squadron of that regiment.One of a collection of photographic portraits of Commanding Officers and Officers Commanding of the regiment/independent squadron from its inception in 1947 to its linking with 4th/19th Prince of Wales’s Light Horse in 1991. Framed black and white photograph of an officer wearing a black beret with 8th/13th Victorian Mounted Rifles hat badge. Inscription panel on lower frame. " Maj. G.F. Cole 1980 - 1982military, cole, vmr, officer

Stanley Savige is seen as the founder of Legacy when it was founded in Melbourne in September 1923. He was born in Morwell Victoria on 26/6/1890. He served in the Australian Army between 1915 and 1946, including service in both World Wars. Stanley Savige was a awarded a KBE, CB, DSO, MC,EDThis is a photographic portrait of the founder of the First Legacy Club in Australia, Stanley Savige. Black and white photograph of Brigadier Stanley Savige. He is wearing a uniform and it is of note that he has 8 ribbons including an MID and wears the rank of Brigadier. Photo is placed behind discoloured white mounting board.Austin Murcott Melb (Front lower right) savige, portrait, stan savige, founding legatees

Frederick de Kock first advertised as a teacher of French situated in Mr N Caire's photographic Studio, View Place. In 1882 he began teaching hand painting on ceramics. In 1883 he advertised as a photographer with his own studio on the corner of Mitchell and King Street, which was later named the Bendigo Portrait rooms. In December 1887 Mrs De Kock sold all her goods prior to a move to Sydney. In 1888 Frederick advertised as a representative of the Enlargement Company who was visiting Bendigo to take orders. This information suggests that this photograph was taken between 1883 and 1887.Sepia family photograph of three girls and one boy, date and family name unknown. Siblings dressed for the photograph, youngest child the son carries a walking stick. Photograph by F. de Kock & Co., photographic artists located at corner of Mitchell and King Streets.siblings, family group

Prominent Wesleyan Buninyong familky.B/W photographic copy of original, studio family portrait, Trewhalla family 1903. Clarice, daughter standing left, Annie(mother, nee Pask) seated holding son Edgar, son Roy standing centre, Father Theo seated, daughter Doris standing right, leaning on father.Trewhalla family of Buninyong 1903. Left to Right Clarice, Annie (nee Pask) holding Edgar, Roy, Theo and Doris. Roy later presented the gates of the Buninyong School.buninyong, family, trewhalla

Friedrich William Kroschel (Fritz) was born 3rd March 1896(?) in Natimuk, Victoria. His parents were Friedrich August and Dorothea Martha Kroschel. After passing the medical examinations and the loyalty test applied to all German descendants, he went to Melbourne as Private F.W. Kroschel, Regimental No 6351. 1 Company 18th Re-enforcements, 23rd Battalion. 6th Infantry Brigade. He left Australia in November 1916 on a ship and went through Durban, Sth Africa. He was wounded during the battle of Ypres, Belgium and succumbed to his wounds (fractured skull) on the 25th September 1917. He is buried in Mont Huon Cemetery, near Le Treport, Seine-Maritime, France. On his grave is inscribed: "BE THOU FAITHFUL UNTO DEATH AND I WILL GIVE THEE A CROWN OF LIFE". The portrait was presumably completed from a photo taken in Mendelssohn photographic studio in Melbourne before he left for the war. His fiancé was named Dora. AHS has a significant collection of items from this soldier. He was a local man who lost his life in WW1. He died of his wounds in 2nd Can: Cas: Hospital, Le Treport and is buried in Mont Huon Cemetery, near Le Treport, France. There are a number of items of correspondence to Fred/Fritz from residents in Natimuk, now in the collection of AHS. Black and white portrait drawing of a young Australian soldier in military attire framed in black and golden wooden frame.'Mendelssohn' on picture and on back 'Kroschel?'frederick william kroschel 1896, natimuk, 1st world war, no 6351, wwi, first world war, great war, friedrich august kroschel, dorothea martha kroschel, loyalty test, german, victoria, horsham, wimmera

The correspondent of The Argus recorded that: "The Parliament of the Commonwealth was opened yesterday by the Duke, of Cornwall and York, under a Commission signed by Queen Victoria and subsequently endorsed by King Edward VII. The ceremony was marked by the splendour and solemn impressiveness which befitted its historic importance. ... To-day the Heir to the Throne will review some 15,000 Australian troops at Flemington. ... It is a function which, on a lesser scale, might have been arranged at any time for many years past; but it could never previously have conveyed the meaning it does now. Soldiering was popularly regarded as a pastime here until South Africa tried the mettle of our men. It is serious business from henceforth. Those who followed the nascent aspirations of the volunteer soldiery in Australia must be impressed at the rapidity of their fulfillment. ... The document design has artistic and aesthetic merit. While it is not rare, it is representative of the kinds of formal designs used for the Australian Commonwealth celebrations at the time of Federation, and is in excellent condition. Such items as this invitation have local, state and national historic significance as mementoes of a key moment in Australia's history. Locally, the invitation is part of a group of Federation-related items issued to James Maitland Campbell (and his wife). Campbell was three times mayor of Kew in the second half of the 19th Century and the owner of Ramornie in Pakington Street, one of the significant extant mansions in Kew. An invitation, mounted on card to the Royal Review held at Flemington racecourse on Friday 10 May 1901, as part of the Government of Victoria's Australian Commonwealth Celebrations. The border is vividly decorated with flags, shields and a large coat of arms. The photographic images depict various scenes of Flemington in Melbourne, in addition to two separate portraits of the Duke and Duchess of Cornwall and York. Illustrations of military servicemen on foot and horseback flank the central block of text. The invitation was addressed to Mr & Mrs J. M. Campbell. James Maitland Campbell had been Mayor of Kew in the years 1889-90, 1890-91 and 1892-93.Printed: AUSTRALIAN COMMONWEALTH CELEBRATIONS/ The Government of Victoria/ requests the honour of the presence of/ .../ AT THE/ ROYAL REVIEW/ at Flemington on Friday/ the 10th of May 1901. Handwritten on the dotted line: Mr. & Mrs. J. M. Campbellfederation events, royal review - 1901, james maitland campbell, federation -- invitations

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

Charlemont & Co., operated out of the Academy Studio, 114 Elizabeth Street from 1890 to 1898. The sitter’s identity has been established as a Mrs. Merritt. While we know that she is not the Mrs Merritt who was to be the wife of the future Mayor of Kew, there were two Mrs Merritts who were shopkeepers in High Street, Kew. Mrs Lucy Merritt operated a bootmaker’s shop, and subsequently a “boot warehouse” from 1888 until the 1920s. Miss Laura Merritt established a dressmaker’s shop in High Street in 1910. Her business also lasted until the 1920s, albeit changed to that of a bookseller and stationer. Silver albumen cabinet card by Charlemont & Co., who operated out of the Academy Studio, 114 Elizabeth Street from 1890 to 1898. In this portrait of Mrs Merritt, she is posed gazing directly at the lens, thus achieving a potentially more intimate relationship with the viewer. All that is revealed however in this supposedly more direct pose is her face. As with an earlier generation, her hair is centrally parted and flattened to accommodate her bonnet, which is surmounted by feathers. The detail in her coat-dress is sharply revealed by new photographic processes that allowed firms like Charlemont & Co., to capture greater light and shade, as well as the detail of fabrics. The entire garment is beaded with what is probably Parisian jet. The beading is arranged in a ‘paisley’ design. The paisley pattern was to become ubiquitous in the 19th century as a design on everything from carpets, to shawls, to clothing.Mrs Merrittcharlemont & co., mrs merritt

An e.21st century digital print on canvas, of an original e.20th century sepia photographic print. Image features a group portrait of men and women, some of whom are holding tennis racquets. This image possibly depicts members of a tennis club in Wales. Materials: Canvas/Cotton, Ink, Wood, Metal, Paper, Paint, Linentennis

An e.21st century digital print on canvas, of an original e.20th century sepia photographic print. Image features an informal group portrait of men, women, teenage girls and a boy. Many of the girls hold tennis racquets. A neo-classical sculpture of a maiden features behind the subjects. Materials: Canvas/Cotton, Ink, Wood, Metal, Paper, Paint, Linentennis

An e.21st century digital print on canvas, of an original e.20th century sepia photographic print. Image features a group portrait of men, women, and children. Some of the subjects hold tennis racquets, whilst one lady holds a croquet mallet. Behind the subjects is a wooden pavillion. Materials: Canvas/Cotton, Ink, Wood, Metal, Paper, Paint, Linentennis

An e.21st century digital print on canvas, of an original e.20th century sepia photographic print. Image features an informal group portrait of men, women, and children. The teenaged boys wear blazers, and are holding tennis racquets, whilst the younger boys wear sailor suits. Materials: Canvas/Cotton, Ink, Wood, Metal, Paper, Paint, Linentennis

An e.21st century digital print on foamcore, of an original l.19th century sepia photographic print. Image features an informal group portrait of young men and women, on a tennis court. All subjects are holding a tennis racquet. Materials: Foamcore, Ink, Wood, Metal, Paper, Paint, Linentennis

An e.21st century digital print of an original e.20th century black and white photographic print. Image is an informal group portrait of men, women and children - most of whom are in their tennis whites - outside on a tennis lawn, with bushland in the background. Materials: Cardboard, Ink, Wood, Metal, Paper, Lacquer, Cardboard, Glasstennis

Original studio portrait photograph of woman holding a tennis racquet resting on her elbow. Lower panel of frame has relief molding of a tennis racquet. Materials: Paper, Photographic emulsion, Glass, Wood, Cardboard, Inktennis

Studio portrait photogrpah of girl with headscarf and racquet. Materials: Paper, Photographic emulsion, Wood, Cardboard, Glasstennis

Kew achieved independence from the Boroondara Roads Board in 1860. As a new municipality, its first three leaders were designated as chairmen. On becoming a borough in 1863, its leaders were identified as mayors. The earliest photographs date from ca.1906, when the Town of Kew commissioned the noted local photographer Josiah E Barnes to produce standardised portraits of former mayors to be displayed in the Mayoral Chamber of the Town Hall. The collection also includes photographs by other well-known photographic studios such as Burlington Studios, Melba – Melbourne, Stuart Tompkins, Spencer Shier and Talma & Co. The majority of mounts identify the photographer. Eighty photographs are housed in their original frames.This portrait is one of a series of mounted and framed photographic portraits of mayors and town clerks of the former Borough, Town and City of Kew. The portraits were transferred by the City of Kew to the Kew Historical Society in March 1989. A Significance Assessment in 2018, funded by the National Library of Australia confirmed the historic, and often artistic significance of the series.Framed portrait of Cr. George Lewis, third Chairmen and later first Mayor of Kew. The mounting and framing of the photograph follows a typical layout or style in that each is framed in dark wood, glazed, and laid down on an inscribed board. The inscription identifies the name of the mayor and the year/s that he/she served.George Lewis / Mayor 1863 mayors of kew (vic), cr. george lewis, kew (vic.) — municipal collection

Kew achieved independence from the Boroondara Roads Board in 1860. As a new municipality, its first three leaders were designated as chairmen. On becoming a borough in 1863, its leaders were identified as mayors. The earliest photographs date from ca.1906, when the Town of Kew commissioned the noted local photographer Josiah E Barnes to produce standardised portraits of former mayors to be displayed in the Mayoral Chamber of the Town Hall. The collection also includes photographs by other well-known photographic studios such as Burlington Studios, Melba – Melbourne, Stuart Tompkins, Spencer Shier and Talma & Co. The majority of mounts identify the photographer. Eighty photographs are housed in their original frames.This portrait is one of a series of mounted and framed photographic portraits of mayors and town clerks of the former Borough, Town and City of Kew. The portraits were transferred by the City of Kew to the Kew Historical Society in March 1989. A Significance Assessment in 2018, funded by the National Library of Australia confirmed the historic, and often artistic significance of the series.Framed portrait of Cr. John Carson, Mayor of Kew 1863-4. The mounting and framing of the photograph follows a typical layout or style in that each is framed in dark wood, glazed, and laid down on an inscribed board. The inscription identifies the name of the mayor and the year/s that he/she served.John Carson / Mayor 1863-4mayor of kew, cr. john carson, photographers - kew (vic) - josiah earl barnes, kew (vic.) — municipal collection

Kew achieved independence from the Boroondara Roads Board in 1860. As a new municipality, its first three leaders were designated as chairmen. On becoming a borough in 1863, its leaders were identified as mayors. The earliest photographs date from ca.1906, when the Town of Kew commissioned the noted local photographer Josiah E Barnes to produce standardised portraits of former mayors to be displayed in the Mayoral Chamber of the Town Hall. The collection also includes photographs by other well-known photographic studios such as Burlington Studios, Melba – Melbourne, Stuart Tompkins, Spencer Shier and Talma & Co. The majority of mounts identify the photographer. Eighty photographs are housed in their original frames.This portrait is one of a series of mounted and framed photographic portraits of mayors and town clerks of the former Borough, Town and City of Kew. The portraits were transferred by the City of Kew to the Kew Historical Society in March 1989. A Significance Assessment in 2018, funded by the National Library of Australia confirmed the historic, and often artistic significance of the series.Framed portrait of Cr. W. M. Derrick, Mayor of Kew 1864-5. The mounting and framing of the photograph follows a typical layout or style in that each is framed in dark wood, glazed, and laid down on an inscribed board. The inscription identifies the name of the mayor and the year/s that he/she served.W.M. Derrick / Mayor 1864-5mayor of kew, cr. w. m. derrick, photographers - kew (vic) - josiah earl barnes, kew (vic.) — municipal collection

Kew achieved independence from the Boroondara Roads Board in 1860. As a new municipality, its first three leaders were designated as chairmen. On becoming a borough in 1863, its leaders were identified as mayors. The earliest photographs date from ca.1906, when the Town of Kew commissioned the noted local photographer Josiah E Barnes to produce standardised portraits of former mayors to be displayed in the Mayoral Chamber of the Town Hall. The collection also includes photographs by other well-known photographic studios such as Burlington Studios, Melba – Melbourne, Stuart Tompkins, Spencer Shier and Talma & Co. The majority of mounts identify the photographer. Eighty photographs are housed in their original frames.This portrait is one of a series of mounted and framed photographic portraits of mayors and town clerks of the former Borough, Town and City of Kew. The portraits were transferred by the City of Kew to the Kew Historical Society in March 1989. A Significance Assessment in 2018, funded by the National Library of Australia confirmed the historic, and often artistic significance of the series.Framed portrait of Cr. William Stevenson, Mayor of Kew 1865-6. The mounting and framing of the photograph follows a typical layout or style in that each is framed in dark wood, glazed, and laid down on an inscribed board. The inscription identifies the name of the mayor and the year/s that he/she served.William Stevenson, Mayor [of Kew] 1865-6mayors of kew (vic), cr. william stevenson, kew (vic.) — municipal collection

Kew achieved independence from the Boroondara Roads Board in 1860. As a new municipality, its first three leaders were designated as chairmen. On becoming a borough in 1863, its leaders were identified as mayors. The earliest photographs date from ca.1906, when the Town of Kew commissioned the noted local photographer Josiah E Barnes to produce standardised portraits of former mayors to be displayed in the Mayoral Chamber of the Town Hall. The collection also includes photographs by other well-known photographic studios such as Burlington Studios, Melba – Melbourne, Stuart Tompkins, Spencer Shier and Talma & Co. The majority of mounts identify the photographer. Eighty photographs are housed in their original frames.This portrait is one of a series of mounted and framed photographic portraits of mayors and town clerks of the former Borough, Town and City of Kew. The portraits were transferred by the City of Kew to the Kew Historical Society in March 1989. A Significance Assessment in 2018, funded by the National Library of Australia confirmed the historic, and often artistic significance of the series.Framed portrait of Cr. Francis Barnard, Mayor of Kew for the years 1866-7 and 1883-5. The mounting and framing of the photograph follows a typical layout or style in that each is framed in dark wood, glazed, and laid down on an inscribed board. The inscription identifies the name of the mayor and the year/s that he/she served.Francis Barnard, Mayor [of Kew] 1866-7, 1883-5mayor of kew, cr. francis barnard, photographers - kew (vic) - josiah earl barnes, kew (vic.) — municipal collection

Kew achieved independence from the Boroondara Roads Board in 1860. As a new municipality, its first three leaders were designated as chairmen. On becoming a borough in 1863, its leaders were identified as mayors. The earliest photographs date from ca.1906, when the Town of Kew commissioned the noted local photographer Josiah E Barnes to produce standardised portraits of former mayors to be displayed in the Mayoral Chamber of the Town Hall. The collection also includes photographs by other well-known photographic studios such as Burlington Studios, Melba – Melbourne, Stuart Tompkins, Spencer Shier and Talma & Co. The majority of mounts identify the photographer. Eighty photographs are housed in their original frames.This portrait is one of a series of mounted and framed photographic portraits of mayors and town clerks of the former Borough, Town and City of Kew. The portraits were transferred by the City of Kew to the Kew Historical Society in March 1989. A Significance Assessment in 2018, funded by the National Library of Australia confirmed the historic, and often artistic significance of the series.Framed portrait of Cr Charles F Bradley, Mayor of Kew, Mayor 1867-8. The mounting and framing of the photograph follows a typical layout or style in that each is framed in dark wood, glazed, and laid down on an inscribed board. The inscription identifies the name of the mayor and the year/s that he/she served.Charles F. Bradley, Mayor [of Kew] 1867-8mayors of kew (vic), cr. charles f bradley, photographers - kew (vic) - josiah earl barnes, kew (vic.) — municipal collection

Kew achieved independence from the Boroondara Roads Board in 1860. As a new municipality, its first three leaders were designated as chairmen. On becoming a borough in 1863, its leaders were identified as mayors. The earliest photographs date from ca.1906, when the Town of Kew commissioned the noted local photographer Josiah E Barnes to produce standardised portraits of former mayors to be displayed in the Mayoral Chamber of the Town Hall. The collection also includes photographs by other well-known photographic studios such as Burlington Studios, Melba – Melbourne, Stuart Tompkins, Spencer Shier and Talma & Co. The majority of mounts identify the photographer. Eighty photographs are housed in their original frames.This portrait is one of a series of mounted and framed photographic portraits of mayors and town clerks of the former Borough, Town and City of Kew. The portraits were transferred by the City of Kew to the Kew Historical Society in March 1989. A Significance Assessment in 2018, funded by the National Library of Australia confirmed the historic, and often artistic significance of the series.Framed portrait of Cr. Herbert J. Henty, Mayor of Kew 1868-9. The mounting and framing of the photograph follows a typical layout or style in that each is framed in dark wood, glazed, and laid down on an inscribed board. The inscription identifies the name of the mayor and the year/s that he/she served.Herbert J. Henty, Mayor [of Kew] 1868-9mayor of kew, cr. herbert j henty, kew (vic.) — municipal collection

Kew achieved independence from the Boroondara Roads Board in 1860. As a new municipality, its first three leaders were designated as chairmen. On becoming a borough in 1863, its leaders were identified as mayors. The earliest photographs date from ca.1906, when the Town of Kew commissioned the noted local photographer Josiah E Barnes to produce standardised portraits of former mayors to be displayed in the Mayoral Chamber of the Town Hall. The collection also includes photographs by other well-known photographic studios such as Burlington Studios, Melba – Melbourne, Stuart Tompkins, Spencer Shier and Talma & Co. The majority of mounts identify the photographer. Eighty photographs are housed in their original frames.This portrait is one of a series of mounted and framed photographic portraits of mayors and town clerks of the former Borough, Town and City of Kew. The portraits were transferred by the City of Kew to the Kew Historical Society in March 1989. A Significance Assessment in 2018, funded by the National Library of Australia confirmed the historic, and often artistic significance of the series.Framed portrait of Cr. Robert M. Young, Mayor of Kew 1869-70. The mounting and framing of the photograph follows a typical layout or style in that each is framed in dark wood, glazed, and laid down on an inscribed board. The inscription identifies the name of the mayor and the year/s that he/she served.Robert M. Young, Mayor [of Kew] 1869-70cr. robert m. young, mayors of kew (vic), kew (vic.) — municipal collection