Herbert Joseph Chambers was born in 1912 in Clifton Hill, Victoria. Later he was to live in Clark and Charles Streets in Northcote, in South Caulfield, and finally in Mentone. While he may have worked at the Kew Asylum before 1945, that year was when he was presented with a Certificate issued by the Department of Mental Hygiene (Victoria) declaring that he had completed training and passed the examinations required to work as a 'Mental Attendant’. The document is dated 19th December 1945 and signed by the Director of the Department and by the Co-Examiners. From at least 1945, he was to work as a member of the male staff of the Asylum, mainly in the Refractory Ward. A donor gifted to the Kew Historical Society in February 2019 a number of items collected by Herbert Chambers in his work at the Asylum. These include his Certificate of Registration, a photograph taken of him with two colleagues at Circular Quay in Sydney, a notebook containing ‘SP’ betting records of male asylum staff, and five sketchbooks with artwork created by Kenneth Bailey, a patient of the Asylum. Herbert Chambers’ period of employment at the Kew Asylum coincided with the employment of the English psychiatrist Dr Eric Cunningham Dax (1908-2008) as Chairman of the Mental Hygiene Authority in 1952. Dr Dax introduced an art therapy program into Victorian psychiatric hospitals, including Kew, where it is likely that the five sketchbooks were created. The sketchbooks are believed to have been presented to Chambers by **** as a “gift for looking after him”. Herbert Chambers retired from the Kew Asylum in c.1970 after working there for almost thirty years.The Kew Historical Society has been the recipient of a number of important collections relating to the Kew Mental Hospital and the Children's Cottages, Kew, including their former incarnations. This is an important donation in this context as it includes five sketchbooks by a patient in an art therapy program at the Hospital. Art therapy programs were introduced by Dr Eric Cunningham Dax to Victorian asylums in the 1950s. The sketchbooks contain incomplete drawings and finished artworks. The donor believes that the patient who created the sketchbooks suffered from Schizophrenia. The sketchbooks are historically significant as representative examples of works created by patients in the program and for what they reveal about how mental illness may be manifested in a patient's artworks. The most significant repository of comparable works is held by the Dax Centre at Melbourne University.One of five sketchbooks with illustrations by ******, a patient of the Kew Mental Hospital in an art therapy program, during the 1950s or 1960s. No work is dated although a number of the drawings/paintings are signed with the artist's name. art therapy, kew mental hospital, herbert joseph chambers, dr eric cunningham dax

Herbert Joseph Chambers was born in 1912 in Clifton Hill, Victoria. Later he was to live in Clark and Charles Streets in Northcote, in South Caulfield, and finally in Mentone. While he may have worked at the Kew Asylum before 1945, that year was when he was presented with a Certificate issued by the Department of Mental Hygiene (Victoria) declaring that he had completed training and passed the examinations required to work as a 'Mental Attendant’. The document is dated 19th December 1945 and signed by the Director of the Department and by the Co-Examiners. From at least 1945, he was to work as a member of the male staff of the Asylum, mainly in the Refractory Ward. A donor gifted to the Kew Historical Society in February 2019 a number of items collected by Herbert Chambers in his work at the Asylum. These include his Certificate of Registration, a photograph taken of him with two colleagues at Circular Quay in Sydney, a notebook containing ‘SP’ betting records of male asylum staff, and five sketchbooks with artwork created by Kenn’th [sic] Bailey, a patient of the Asylum. Herbert Chambers’ period of employment at the Kew Asylum coincided with the employment of the English psychiatrist Dr Eric Cunningham Dax (1908-2008) as Chairman of the Mental Hygiene Authority in 1952. Dr Dax introduced an art therapy program into Victorian psychiatric hospitals, including Kew, where it is likely that the five sketchbooks were created. The sketchbooks are believed to have been presented to Chambers by Bailey as a “gift for looking after him”. Herbert Chambers retired from the Kew Asylum in c.1970 after working there for almost thirty years.Small notebook, of which the cover is lost, including the names of male and female staff members at the Kew Mental Hospital, the amounts that they gambled and their winnings. It is presumed that the record was kept by Herbert Joseph Chambers, a member of staff between c.1945-70. The names in the book, including some of their aliases are arranged alphabetically. The prices are listed in pre-decimal currency, (i.e. before 1966). From the number of names listed in the book, it must have been a very extensive SP betting ring. herbert joseph chambers, kew mental hospital, gambling - kew (vic)

Herbert Joseph Chambers was born in 1912 in Clifton Hill, Victoria. Later he was to live in Clark and Charles Streets in Northcote, in South Caulfield, and finally in Mentone. While he may have worked at the Kew Asylum before 1945, that year was when he was presented with a Certificate issued by the Department of Mental Hygiene (Victoria) declaring that he had completed training and passed the examinations required to work as a 'Mental Attendant’. The document is dated 19th December 1945 and signed by the Director of the Department and by the Co-Examiners. From at least 1945, he was to work as a member of the male staff of the Asylum, mainly in the Refractory Ward. A donor gifted to the Kew Historical Society in February 2019 a number of items collected by Herbert Chambers in his work at the Asylum. These include his Certificate of Registration, a photograph taken of him with two colleagues at Circular Quay in Sydney, a notebook containing ‘SP’ betting records of male asylum staff, and five sketchbooks with artwork created by Kenn’th [sic] Bailey, a patient of the Asylum. Herbert Chambers’ period of employment at the Kew Asylum coincided with the employment of the English psychiatrist Dr Eric Cunningham Dax (1908-2008) as Chairman of the Mental Hygiene Authority in 1952. Dr Dax introduced an art therapy program into Victorian psychiatric hospitals, including Kew, where it is likely that the five sketchbooks were created. The sketchbooks are believed to have been presented to Chambers by Bailey as a “gift for looking after him”. Herbert Chambers retired from the Kew Asylum in c.1970 after working there for almost thirty years.Small copy of an original photograph of Herbert Joseph Chambers, a member of the male staff of the Kew Mental Hospital, standing between two unidentified men at Circular Quay, Sydney. The donor believes his father, Herbery Chambers, was in Sydney attending a conference in 1962."Nursing Conference Sydney 1962 / Unknown | Herbert Chambers | Unknown"herbert joseph chambers, kew mental hospital

Herbert Joseph Chambers was born in 1912 in Clifton Hill, Victoria. Later he was to live in Clark and Charles Streets in Northcote, in South Caulfield, and finally in Mentone. While he may have worked at the Kew Asylum before 1945, that year was when he was presented with a Certificate issued by the Department of Mental Hygiene (Victoria) declaring that he had completed training and passed the examinations required to work as a 'Mental Attendant’. The document is dated 19th December 1945 and signed by the Director of the Department and by the Co-Examiners. From at least 1945, he was to work as a member of the male staff of the Asylum, mainly in the Refractory Ward. A donor gifted to the Kew Historical Society in February 2019 a number of items collected by Herbert Chambers in his work at the Asylum. These include his Certificate of Registration, a photograph taken of him with two colleagues at Circular Quay in Sydney, a notebook containing ‘SP’ betting records of male asylum staff, and five sketchbooks with artwork created by Kenn’th [sic] Bailey, a patient of the Asylum. Herbert Chambers’ period of employment at the Kew Asylum coincided with the employment of the English psychiatrist Dr Eric Cunningham Dax (1908-2008) as Chairman of the Mental Hygiene Authority in 1952. Dr Dax introduced an art therapy program into Victorian psychiatric hospitals, including Kew, where it is likely that the five sketchbooks were created. The sketchbooks are believed to have been presented to Chambers by Bailey as a “gift for looking after him”. Herbert Chambers retired from the Kew Asylum in c.1970 after working there for almost thirty years.Representative example of certification required to work as a Mental Attendant in Victoria.Certificate issued by the Department of Mental Hygiene (Victoria) declaring that Herbert Joseph Chambers has completed training and passed examinations required to work as a 'Mental Attendant. The document, dated 19th December 1945 is signed by the Director of the Department and by the Co-Examiners.Department of Mental Hygiene Victoria This is to certify that HERBERT JOSEPH CHAMBERS is a trained MEDICAL ATTENDANT having completed the period of Training and passed the Examinations, prescribed by the Regulations of The Department of Mental Hygiene, in Elementary Anatomy and Physiology, First Aid, General Medical and Special Mental Hygiene. 19TH DECEMBER, 1945 Signed by the Director of Mental Hygiene and two Co-Examinersherbert joseph chambers, kew mental hospital, department of mental hygeine - victoria

Trove contains one newspaper reference to a firm called Ballard & Bowsers. This is in a report on the International Exhibition of 1862. So the company predates the English firm of Callard & Bowsers. Perhaps it is a late Victorian example of piracy of trade names. Old lolly tin with an art nouveau design in a darker metal on the lid. The interior contains a floral spray of lily of the valley made from pressed metal. The title is definitely Ballard & Bowsers rather than Callard and Bowsers. tin, international exhibition 1862

A National Trust (Vic) citation records that Ellesmore [sic] was: 'A late Victorian Villa in the grand manner but completed to a meaner standard in the Edwardian Period. Notable for the mannerist porticos surmounted by a sepulchre motif: the central vestibule at the intersection of the two major axes, with lantern lighting from above: and the art nouveau woodwork of the drawing room'.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. Faded monochrome snapshot of 'Ellesmere'Annotation verso: "Porch of Ellesmere"dorothy rogers, ellesmere -- princess street -- kew (vic), houses -- princess street (kew)

A National Trust (Vic) citation records that Ellesmore [sic] was: 'A late Victorian Villa in the grand manner but completed to a meaner standard in the Edwardian Period. Notable for the mannerist porticos surmounted by a sepulchre motif: the central vestibule at the intersection of the two major axes, with lantern lighting from above: and the art nouveau woodwork of the drawing room'.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. Monochrome snapshot of the verandah of 'Ellesmere'Annotation verso: "Ellesmere. Princess Street. Now Presbyterian Girls Hostel"dorothy rogers, ellesmere -- princess street -- kew (vic), houses -- princess street (kew)

A National Trust (Vic) citation records that Ellesmore [sic] was: 'A late Victorian Villa in the grand manner but completed to a meaner standard in the Edwardian Period. Notable for the mannerist porticos surmounted by a sepulchre motif: the central vestibule at the intersection of the two major axes, with lantern lighting from above: and the art nouveau woodwork of the drawing room'.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. Monochrome snapshot of the verandah of 'Ellesmere'Annotation verso: "Ellesmere. Princess Street. Now Presbyterian Girls Hostel"dorothy rogers, ellesmere -- princess street -- kew (vic), houses -- princess street (kew)

A National Trust (Vic) citation records that Ellesmore [sic] was: 'A late Victorian Villa in the grand manner but completed to a meaner standard in the Edwardian Period. Notable for the mannerist porticos surmounted by a sepulchre motif: the central vestibule at the intersection of the two major axes, with lantern lighting from above: and the art nouveau woodwork of the drawing room'.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. Monochrome snapshot of the a section of the verandah of 'Ellesmere'Annotation verso: "Ellesmere, Princess Street (Kew)."dorothy rogers, ellesmere -- princess street -- kew (vic), houses -- princess street (kew)

A National Trust (Vic) citation records that Ellesmore [sic] was: 'A late Victorian Villa in the grand manner but completed to a meaner standard in the Edwardian Period. Notable for the mannerist porticos surmounted by a sepulchre motif: the central vestibule at the intersection of the two major axes, with lantern lighting from above: and the art nouveau woodwork of the drawing room'.This work forms part of the collection assembled by the historian Dorothy Rogers, that was donated to the Kew Historical Society by her son John Rogers 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 in the 1960s and 1970s. Together it forms the largest privately-donated collection within the archives of the Kew Historical Society.View of the front veranda of Ellesmere in Princess Street (now demolished). Ellesmereellesmere, kew, princess street, dorothy rogers

Sydney Joy (joy) Stewart (1925-2018) was a founding member of the Kew Historical Society, and during the 1970s its secretary. During her residence in Kew, she completed numerous property illustrations on commission. These ranged from preliminary sketches, including architectural details to finished pen & ink and wash illustrations on paper. On moving to Queensland, Joy Stewart donated the remaining property illustrations in her possession to the Kew Historical Society. In 1987-88 she fulfilled a commission by the Society of designs for a series of embroideries completed by residents during the Australian Bicentennial commemorations.Sydney Joy (Joy) Stewart was born in Melbourne 1925. She studied at Swinburne Technical College Art School from 1941-1945, then the National Gallery Art School 1946-1948. Her career included employment positions as a display artist, designer/painter, gallery assistant, and art teacher. Joy relocated to Cairns in 1981. Solo exhibitions in Melbourne and Cairns, including 'Done By Me' at Cairns Regional Gallery in 1999. Group exhibitions at Cairns Regional Gallery, 'The Fish John West Regrets, 1993' and 'Facets of Life' 1994. Joy Stewart died in Cairns in 2018.Watercolour, pen & Ink on paper by the artist and local historian Joy Stewart of a Victorian villa at 74 Charles Street, Kew.Inscription: "74 Charles Street, Kew." Signed lower right: "JStewart".joy stewart, charles street (kew)

Sydney Joy (joy) Stewart (1925-2018) was a founding member of the Kew Historical Society, and during the 1970s its secretary. During her residence in Kew, she completed numerous property illustrations on commission. These ranged from preliminary sketches, including architectural details to finished pen & ink and wash illustrations on paper. On moving to Queensland, Joy Stewart donated the remaining property illustrations in her possession to the Kew Historical Society. In 1987-88, she fulfilled a commission by the Society of designs for a series of embroideries completed by residents during the Australian Bicentennial commemorations.Sydney Joy (Joy) Stewart was born in Melbourne 1925. She studied at Swinburne Technical College Art School from 1941-1945, then the National Gallery Art School 1946-1948. Her career included employment positions as a display artist, designer/painter, gallery assistant, and art teacher. Joy relocated to Cairns in 1981. Solo exhibitions in Melbourne and Cairns, including 'Done By Me' at Cairns Regional Gallery in 1999. Group exhibitions at Cairns Regional Gallery, 'The Fish John West Regrets, 1993' and 'Facets of Life' 1994. Joy Stewart died in Cairns in 2018.Watercolour, pen & Ink on paper by the artist and local historian Joy Stewart of a distinctive two-storey Victorian-era house in Peel Street, Kew. Inscription: "Peel Street, Kew." Signed lower right: "JStewart 1978"joy stewart, peel street (kew)

Sydney Joy (joy) Stewart (1925-2018) was a founding member of the Kew Historical Society, and during the 1970s its secretary. During her residence in Kew, she completed numerous property illustrations on commission. These ranged from preliminary sketches, including architectural details to finished pen & ink and wash illustrations on paper. On moving to Queensland, Joy Stewart donated the remaining property illustrations in her possession to the Kew Historical Society. In 1987-88, she fulfilled a commission by the Society of designs for a series of embroideries completed by residents during the Australian Bicentennial commemorations.Watercolour, pen & Ink on paper by the artist and local historian Joy Stewart of a Victorian-era villa at 74 Charles Street, Kew. Inscription: "74 Charles Street, Kew." Signed lower right: "JStewart".joy stewart, charles street (kew)

Sydney Joy (joy) Stewart (1925-2018) was a founding member of the Kew Historical Society, and during the 1970s its secretary. During her residence in Kew, she completed numerous property illustrations on commission. These ranged from preliminary sketches, including architectural details to finished pen & ink and wash illustrations on paper. On moving to Queensland, Joy Stewart donated the remaining property illustrations in her possession to the Kew Historical Society. In 1987-88, she fulfilled a commission by the Society of designs for a series of embroideries completed by residents during the Australian Bicentennial commemorations.Sydney Joy (Joy) Stewart was born in Melbourne 1925. She studied at Swinburne Technical College Art School from 1941-1945, then the National Gallery Art School 1946-1948. Her career included employment positions as a display artist, designer/painter, gallery assistant, and art teacher. Joy relocated to Cairns in 1981. Solo exhibitions in Melbourne and Cairns, including 'Done By Me' at Cairns Regional Gallery in 1999. Group exhibitions at Cairns Regional Gallery, 'The Fish John West Regrets, 1993' and 'Facets of Life' 1994. Joy Stewart died in Cairns in 2018.Watercolour, pen & Ink on paper by the artist and local historian Joy Stewart of a two-storey Victorian-era residence located at 63 Wellington Street, Kew. Inscription: "63 Wellington Street, Kew." Signed lower right: "JStewart".joy stewart, wellington street (kew)

Sydney Joy (joy) Stewart (1925-2018) was a founding member of the Kew Historical Society, and during the 1970s its secretary. During her residence in Kew, she completed numerous property illustrations on commission. These ranged from preliminary sketches, including architectural details to finished pen & ink and wash illustrations on paper. On moving to Queensland, Joy Stewart donated the remaining property illustrations in her possession to the Kew Historical Society. In 1987-88, she fulfilled a commission by the Society of designs for a series of embroideries completed by residents during the Australian Bicentennial commemorations.Sydney Joy (Joy) Stewart was born in Melbourne 1925. She studied at Swinburne Technical College Art School from 1941-1945, then the National Gallery Art School 1946-1948. Her career included employment positions as a display artist, designer/painter, gallery assistant, and art teacher. Joy relocated to Cairns in 1981. Solo exhibitions in Melbourne and Cairns, including 'Done By Me' at Cairns Regional Gallery in 1999. Group exhibitions at Cairns Regional Gallery, 'The Fish John West Regrets, 1993' and 'Facets of Life' 1994. Joy Stewart died in Cairns in 2018.Pencil, pen and ink drawing of Victorian buildings that comprise Trinity Grammar School - Merritt House, Roberts House and Roxeth House by the artist Joy Stewart. c.1978Inscription: Trinity Grammar School". Unsigned.joy stewart, roxeth house, roberts house, merritt house, trinity grammar school

One of five group and individual portraits of the Noble family of Kew, two in the rear garden of what is presumed to be ‘Charnwood’, in Station Street, Coburg. The photographs date from the period c.1890-1914. One of the larger framed photographs is a portrait of the entire family group, while another is of two of the children, Frederick and Winifred. The father, Frederick William Noble was a businessman, and, at one period Secretary of the Victorian Creamery & Butter Company in South Melbourne. Later he was to manage J. Bartram & Co., Ice & Cold Storage Department in Flinders Lane. By 1906, the Noble family had moved to Kew, living for almost 20 years at 100 Walpole Street before relocating to 26 Molesworth Street in the mid 1920s. The five photographs in the collection reveal details of family life and social values as expressed through attire. The family is formally costumed in a manner indicative of their social status. Mrs Noble, in one of the large framed portraits, is dressed in a sombre manner in a long, dark-coloured long-sleeved, high-necked gown. It is difficult to know whether she is dressed in mourning wear in this black and white photograph. It was not uncommon for a woman to regularly wear mourning attire due to the high mortality rate in the Victorian era. This situation was compounded for women due to the size of extended families. A woman might rarely be out of mourning due to the death of a parent, a sibling, a husband, a child or a near relative. The portraits of the Noble family children, particularly Frederick and Winifred, show the elaborateness of formal attire worn by the children of wealthy families during the late Victorian era. Winifred is dressed in a long cotton dress and a broad-rimmed hat; both liberally covered in lace. Winifred and Frederick’s lace collars extend to their shoulders. Winifred’s diaries, covering the period 1908-50, are now in the collection of the State Library of Victoria. The most detailed of the diaries is from 1914, just before the outbreak of World War 1, and includes ‘Accounts of my Dancing Evenings - Season 1914’. The diaries were the inspiration for an art exhibition by Jim Pavlidis in 2014. One of the family’s two sons, Frederick, was to work at The Age newspaper for 50 years. His obituary records that “He was regarded as the epitome of accuracy and a fount of knowledge on many subjects, but especially cricket, the Royal Melbourne Show and Gilbert & Sullivan”. With Robert Morgan he compiled Speed the Plough, a history of the Royal Agricultural Society of Victoria and its role in developing agriculture in Victoria.A series of photographs that depict family life in the period 1890-1914. The family is significant and the children achieved success in a number of fields.Framed large albumen silver photograph of Frederick Harwood Noble and his sister Winifred in the rear garden of the family home in Coburg (sic). Later Label on rear reads ‘F.H. Noble, W.M. Noble’.winifred noble, frederick noble, charnwood (coburg), station street (coburg)

One of five group and individual portraits of the Noble family of Kew, two in the rear garden of what is presumed to be ‘Charnwood’, in Station Street, Coburg. The photographs date from the period c.1890-1914. One of the larger framed photographs is a portrait of the entire family group, while another is of two of the children, Frederick and Winifred. The father, Frederick William Noble was a businessman, and, at one period Secretary of the Victorian Creamery & Butter Company in South Melbourne. Later he was to manage J. Bartram & Co., Ice & Cold Storage Department in Flinders Lane. By 1906, the Noble family had moved to Kew, living for almost 20 years at 100 Walpole Street before relocating to 26 Molesworth Street in the mid 1920s. The five photographs in the collection reveal details of family life and social values as expressed through attire. The family is formally costumed in a manner indicative of their social status. Mrs Noble, in one of the large framed portraits, is dressed in a sombre manner in a long, dark-coloured long-sleeved, high-necked gown. It is difficult to know whether she is dressed in mourning wear in this black and white photograph. It was not uncommon for a woman to regularly wear mourning attire due to the high mortality rate in the Victorian era. This situation was compounded for women due to the size of extended families. A woman might rarely be out of mourning due to the death of a parent, a sibling, a husband, a child or a near relative. The portraits of the Noble family children, particularly Frederick and Winifred, show the elaborateness of formal attire worn by the children of wealthy families during the late Victorian era. Winifred is dressed in a long cotton dress and a broad-rimmed hat; both liberally covered in lace. Winifred and Frederick’s lace collars extend to their shoulders. Winifred’s diaries, covering the period 1908-50, are now in the collection of the State Library of Victoria. The most detailed of the diaries is from 1914, just before the outbreak of World War 1, and includes ‘Accounts of my Dancing Evenings - Season 1914’. The diaries were the inspiration for an art exhibition by Jim Pavlidis in 2014. One of the family’s two sons, Frederick, was to work at The Age newspaper for 50 years. His obituary records that “He was regarded as the epitome of accuracy and a fount of knowledge on many subjects, but especially cricket, the Royal Melbourne Show and Gilbert & Sullivan”. With Robert Morgan he compiled Speed the Plough, a history of the Royal Agricultural Society of Victoria and its role in developing agriculture in Victoria.A compelling group of family portraits. Members of the family were to achieve important roles as managers, journalists and writers.Framed and gazed albumen silver print of Mr and Frederick Warner Mrs Noble in the garden of their home in Coburg (sic) with their three children. There are minor losses to the gesso and paint of the original frame. Later labels to rear include: "Mr Noble, Mrs Noble’. ‘Frederick, Winifred, Wilfred"noble family, charnwood (coburg), station street (coburg)

One of five group and individual portraits of the Noble family of Kew, two in the rear garden of what is presumed to be ‘Charnwood’, in Station Street, Coburg. The photographs date from the period c.1890-1914. One of the larger framed photographs is a portrait of the entire family group, while another is of two of the children, Frederick and Winifred. The father, Frederick William Noble was a businessman, and, at one period Secretary of the Victorian Creamery & Butter Company in South Melbourne. Later he was to manage J. Bartram & Co., Ice & Cold Storage Department in Flinders Lane. By 1906, the Noble family had moved to Kew, living for almost 20 years at 100 Walpole Street before relocating to 26 Molesworth Street in the mid 1920s. The five photographs in the collection reveal details of family life and social values as expressed through attire. The family is formally costumed in a manner indicative of their social status. Mrs Noble, in one of the large framed portraits, is dressed in a sombre manner in a long, dark-coloured long-sleeved, high-necked gown. It is difficult to know whether she is dressed in mourning wear in this black and white photograph. It was not uncommon for a woman to regularly wear mourning attire due to the high mortality rate in the Victorian era. This situation was compounded for women due to the size of extended families. A woman might rarely be out of mourning due to the death of a parent, a sibling, a husband, a child or a near relative. The portraits of the Noble family children, particularly Frederick and Winifred, show the elaborateness of formal attire worn by the children of wealthy families during the late Victorian era. Winifred is dressed in a long cotton dress and a broad-rimmed hat; both liberally covered in lace. Winifred and Frederick’s lace collars extend to their shoulders. Winifred’s diaries, covering the period 1908-50, are now in the collection of the State Library of Victoria. The most detailed of the diaries is from 1914, just before the outbreak of World War 1, and includes ‘Accounts of my Dancing Evenings - Season 1914’. The diaries were the inspiration for an art exhibition by Jim Pavlidis in 2014. One of the family’s two sons, Frederick, was to work at The Age newspaper for 50 years. His obituary records that “He was regarded as the epitome of accuracy and a fount of knowledge on many subjects, but especially cricket, the Royal Melbourne Show and Gilbert & Sullivan”. With Robert Morgan he compiled Speed the Plough, a history of the Royal Agricultural Society of Victoria and its role in developing agriculture in Victoria.Framed photographic half portrait of Winifred Noble in the original carved wooden frame. Winifred lived at 'Avalon' in Molesworth Street, Kew.Handwritten label on rear "Winifred Noble c 1910-12"noble family, winifred noble, photographic portrait, kew

One of five group and individual portraits of the Noble family of Kew, two in the rear garden of what is presumed to be ‘Charnwood’, in Station Street, Coburg. The photographs date from the period c.1890-1914. One of the larger framed photographs is a portrait of the entire family group, while another is of two of the children, Frederick and Winifred. The father, Frederick William Noble was a businessman, and, at one period Secretary of the Victorian Creamery & Butter Company in South Melbourne. Later he was to manage J. Bartram & Co., Ice & Cold Storage Department in Flinders Lane. By 1906, the Noble family had moved to Kew, living for almost 20 years at 100 Walpole Street before relocating to 26 Molesworth Street in the mid 1920s. The five photographs in the collection reveal details of family life and social values as expressed through attire. The family is formally costumed in a manner indicative of their social status. Mrs Noble, in one of the large framed portraits, is dressed in a sombre manner in a long, dark-coloured long-sleeved, high-necked gown. It is difficult to know whether she is dressed in mourning wear in this black and white photograph. It was not uncommon for a woman to regularly wear mourning attire due to the high mortality rate in the Victorian era. This situation was compounded for women due to the size of extended families. A woman might rarely be out of mourning due to the death of a parent, a sibling, a husband, a child or a near relative. The portraits of the Noble family children, particularly Frederick and Winifred, show the elaborateness of formal attire worn by the children of wealthy families during the late Victorian era. Winifred is dressed in a long cotton dress and a broad-rimmed hat; both liberally covered in lace. Winifred and Frederick’s lace collars extend to their shoulders. Winifred’s diaries, covering the period 1908-50, are now in the collection of the State Library of Victoria. The most detailed of the diaries is from 1914, just before the outbreak of World War 1, and includes ‘Accounts of my Dancing Evenings - Season 1914’. The diaries were the inspiration for an art exhibition by Jim Pavlidis in 2014. One of the family’s two sons, Frederick, was to work at The Age newspaper for 50 years. His obituary records that “He was regarded as the epitome of accuracy and a fount of knowledge on many subjects, but especially cricket, the Royal Melbourne Show and Gilbert & Sullivan”. With Robert Morgan he compiled Speed the Plough, a history of the Royal Agricultural Society of Victoria and its role in developing agriculture in Victoria.Framed portrait of Frederick Noble"Frederick Noble". The name "PRENTICE" is handwritten below the label.noble family, frederick noble

One of five group and individual portraits of the Noble family of Kew, two in the rear garden of what is presumed to be ‘Charnwood’, in Station Street, Coburg. The photographs date from the period c.1890-1914. One of the larger framed photographs is a portrait of the entire family group, while another is of two of the children, Frederick and Winifred. The father, Frederick William Noble was a businessman, and, at one period Secretary of the Victorian Creamery & Butter Company in South Melbourne. Later he was to manage J. Bartram & Co., Ice & Cold Storage Department in Flinders Lane. By 1906, the Noble family had moved to Kew, living for almost 20 years at 100 Walpole Street before relocating to 26 Molesworth Street in the mid 1920s. The five photographs in the collection reveal details of family life and social values as expressed through attire. The family is formally costumed in a manner indicative of their social status. Mrs Noble, in one of the large framed portraits, is dressed in a sombre manner in a long, dark-coloured long-sleeved, high-necked gown. It is difficult to know whether she is dressed in mourning wear in this black and white photograph. It was not uncommon for a woman to regularly wear mourning attire due to the high mortality rate in the Victorian era. This situation was compounded for women due to the size of extended families. A woman might rarely be out of mourning due to the death of a parent, a sibling, a husband, a child or a near relative. The portraits of the Noble family children, particularly Frederick and Winifred, show the elaborateness of formal attire worn by the children of wealthy families during the late Victorian era. Winifred is dressed in a long cotton dress and a broad-rimmed hat; both liberally covered in lace. Winifred and Frederick’s lace collars extend to their shoulders. Winifred’s diaries, covering the period 1908-50, are now in the collection of the State Library of Victoria. The most detailed of the diaries is from 1914, just before the outbreak of World War 1, and includes ‘Accounts of my Dancing Evenings - Season 1914’. The diaries were the inspiration for an art exhibition by Jim Pavlidis in 2014. One of the family’s two sons, Frederick, was to work at The Age newspaper for 50 years. His obituary records that “He was regarded as the epitome of accuracy and a fount of knowledge on many subjects, but especially cricket, the Royal Melbourne Show and Gilbert & Sullivan”. With Robert Morgan he compiled Speed the Plough, a history of the Royal Agricultural Society of Victoria and its role in developing agriculture in Victoria.Framed oval portrait of Mrs P. W. Noble in a carved wooden frame."P. W. Noble" handwritten on label on reverse. noble family

The 13th Light Horse was raised at Broadmeadows Victoria in March 1915 from volunteers from across Victoria. The regiment served at Gallipoli, Egypt and on the Western Front. The guidon, emblazoned with the battle honours, was presented in 1927. In 1948 when 8/13 Victorian Mounted Rifles was raised as the descendent regiment of the 8th, 13th and 20th Light Horse Regiments it became the custodian of the three guidons including that of the 13th Light Horse. In 1991, the two Victorian mounted regiments 8/13th VMR and 4/19th Prince of Wales's Light Horse were linked to form a single regiment which had custodianship of six guidons, 4th, 8th 13th, 17th 19th and 20th Light Horse Regiments. All except the 4th Light Horse Guidon were laid up at the Shrine in August 2005. The 4th guidon is to be laid up in November 2017.A representative example of a symbol of the esprit de corps and achievements of a regiment of citizen soldiers drawn from Victoria. Well provenanced and fine example of military heraldic art.Burgundy corded cotton flag with gold thread fringe with rope and tassels. at centre is 13th Light Horse emblem incorporating horse and red and white diamond colour patch, surrounded by wattle wreath and surmounted by king's crown. XIII in top left corner and battle honours on either side of centre motif, "South Africa 1899-1902, Pozieres, Arras 1917, Amiens 1918, France and Flanders 1916-18, Egypt 1915-16, Somme 1916-18, Bapaume 1917, Ypres 1917, Albery 1918, Gallipoli 1915"13th light horse regiment, guidon, flag

The 20th Light Horse was raised as part of the reorganised Citizen Military Forces (Militia) following the end of WWI. It had Headquarters at Seymour Victoria and sub-units along the Goulburn Valley. The guidon, emblazoned with the South African and WWI battle honours, was presented in 1927. The 20th Light Horse served overseas during WWII being the only Light Horse unit to do so and received the battle honour South West Pacific 1944-45. In 1948 when 8/13 Victorian Mounted Rifles was raised as the descendent regiment of the 8th, 13th and 20th Light Horse Regiments it became the custodian of the three guidons including that of the 20th Light Horse. In 1991, the two Victorian mounted regiments 8/13th VMR and 4/19th Prince of Wales's Light Horse were linked to form a single regiment which had custodianship of six guidons, 4th, 8th 13th, 17th 19th and 20th Light Horse Regiments. All except the 4th Light Horse Guidon were laid up at the Shrine in August 2005. The 4th guidon is to be laid up in November 2017.A representative example of a symbol of the esprit de corps and achievements of a regiment of citizen soldiers drawn from Victoria. Well provenanced and fine example of military heraldic art.Burgundy corded cotton flag with gold thread fringe with rope and tassels. at centre is 20th Light Horse badge surrounded by wattle wreath with purple and gold rectangular colour patch under. XX in top left corner and battle honours on either side of centre motif."South Africa 1899-1902, Gallipoli 1915, Palestine 1917-18, Anzac, Egypt 1915-17, South West Pacific 1944-45"guidons, flags, embroidery, citizen military forces, heraldry, light horse regiments

Of the eight hotels established in Kew since European settlement, The Hotel Kew, known for most of its existence, as the Clifton Hotel was the seventh to be built in 1868. Its location on the corner of Studley Park Road and High Street at Kew Junction makes it a prominent landmark. Its current name is confusing for local historians as its main rival for the first 52 years was O'Shaughnessy's Hotel (1855), later renamed the Kew Hotel, on the corner of High Street and Denmark Street. Looking at the façade of the Hotel Kew, it is hard to imagine its mid-nineteenth appearance. There have probably been at least four renovations or rebuilding(s) of the structure. The documented renovations have occurred in the 1930s when the late Victorian façade was given an Art Deco update. In about 1970 its façade was again 'improved'. The many publicans who have held the licenses of the Clifton Hotel have been identified in in the 'Tetlow Index' and on the 'Boroondara Local History Wiki'. The most significant of these are Henry Madden (1880-87); Michael O'Donnell (1902-1920); and the Cronin-Ryan family (1935–53ff).Fading colour positive photograph of the Clifton Hotel at Kew Junction on the corner of High Street South and Studley Park Road. The hotel had been modified extensively over time, disguising the original Italianate facade. This is the colour scheme of the fourth restoration, including huge advertising billboards on the roof.Reverse: "Clifton Hotel. Studley Park Road at Kew Junction. 1994clifton hotel -- kew (vic.), hotels -- kew (vic.), kew junction

After training as a Cartographic Draftsman within the mining industry, I worked as a property illustrator for real estate firms in the eastern suburbs of Melbourne for 23 years from 1983. I initially photographed houses with a Polaroid camera and made a 'thumbnail' sketch while there. The photos were used to scale off a sketch in pencil and then that sketch was overlaid with drafting film and the 'pen and ink' completed. The pens I used were the Rotring ‘Rapidigraph’ drafting pens. The ink was also made by Rotring (German).The film was ‘Rapidraw’, polyester drafting film, double matte. It takes a very fine line and doesn’t bleed. As well as house sketches, there were often floor plans and site plans ordered. Aerial sketches were ordered when the property needed an overall view. (Margaret Picken, 2020)The house at 7 Hume Street was designed in 1955 by the modernist architect Douglas Alexandra (1922-2000). Between 1951 and 1996, Alexandra completed a number of significant projects including a regional art gallery and library complex at Hamilton, Victoria (1958-59). The residence in Hume Street is included in the RAIA Victorian Chapter's 20th Century Buildings Register. The house, and another residence in Molesworth Street (1961), is one of his notable residential projects. The aerial property illustration of the house by Margaret Picken was commissioned by the real estate agent Woodards in 1998. Gift of Margaret Picken, 2020Pen and ink property illustration on drafting film of 7 Hume Street, Kew by Margaret Picken.7 HUME ST., KEW / MARGARET PICKEN ~98 / WOODARDS ~ HAWTHORN artist -- margaret picken 1950-, 7 hume street - kew (vic)., d.d. alexandra - architect, property illustrations -- buildings -- kew (vic.)

Local SceneImpressionistic view of valley with a creek running through it. Three horses in the foreground - AR0064Information about the artist on the back. "James Farrell is a member of the Victorian Artists Society" and "is represented at the Australian War Memorial, Canberra".keilor, maribyrnong, river, painting, impressionist, landscape