White card with blue text and decorative border.non-fictioncongregational church, pilots

Boyd argues that Australia needs confidence in creative thinking so our products can cut through established formulas to contribute to our growth as a nation. He outlines four stages of architectural development in every community, and describes Canada in these terms. He posits that Australia overall is only at stage two (imported sophisticated), Brisbane/Hobart/Adelaide at stage one. Boyd argues the Australian dream of individual identity is impossible now, to move to stage 3 Australia needs to be encouraged to have confidence in Australian artists of all kinds, allowing creative people to flourish, be themselves. He indicates that Canberra is close to third stage, with architecture designed by international figures in 1960s but now Australian John Andrews brought out to do an architecturally creative office complex in Belconnen - Canberra, signalling growth of a national identity.Typewritten (c copy), pencil edits and additions, quarto, 7 pages - p12-18confidence in creative thinking, australian national identity, four stages in architectural development, canberra architecture, john andrews, robin boyd, manuscript

Wilfred Clarence Busse was born in Chiltern, Victoria in 1898. His family first arrived in this region during the gold rush era, purchasing a piece of land adjacent to the Murray River. The spectacular scenery and rich history of the area is said to have inspired Busse in his writing. He attended Wesley College in his school days, before going on to study law at the University of Melbourne. After graduating from university, Busse would go on to become a barrister, but he is best known as a writer of fiction, publishing two novels: 'The Blue Beyond: A Romance of the Early Days in South Eastern Australia' and 'The Golden Plague: A Romance in the Early Fifties'. Busse died in 1960. This particular object is dated 1895, three years before Busse was born. It can thus be assumed that it was awarded to a relative of his, possibly his father in relation to their land by the Murray River. This object is significant as it is associated with Wilfred Clarence Busse, a celebrated author and barrister who grew up in the locality of Chiltern. It is also a medal awarded by the Royal Agricultural Society of Victoria, a society that has held social and industrial significance since it was founded in the nineteenth century. Small, circular medal - made of either bronze or brass metal - depicting an agricultural background behind a female figure in a toga holding a wreath. Back side: The Royal Agricultural Society of Victoria / Busse & Son / 1895wilfred clarence busse, w.c. busse, busse, gold rush, gold rush chiltern, busse author, the royal agricultural society of victoria, "the golden plague: a romance of the early fifties., "the blue beyond, rasv, medal, agricultural medal

Alan Martin studied under Max Meldrum, at the National Gallery School and the Royal Melbourne Institute of Technology. He later established his own art school. He has won several prizes and is represented in several provincial collections. Alan Marshall was the author of more than fifteen books, and lived much of his life in Eltham. He became a central figure in the area's arts community of writers, artists, sculptors, film makers, actors and musicians. He contracted polio when he was young is considered one of Australia's most successful and loved authors. His most famous book, 'I Can Jump Puddles' is based on his life story and the obstacles he faced as a child in trying to overcome his disability. The portrait of Alan Marshall was exhibited as a finalist at the 1956 Archibald Prize.

Made for Chris Neyland by Rene Densham when he was born in 1953 and later given to Running Stitch by Lois Densham who is Chris Neylands aunt. The quilt was made from scraps of woollen fabric from clothing used in the family. It was used in Chris' cot or pram when he was an infant. Lois can remember the dark green fabric coming from a jacket she once wore and the blue tartan pieces from a skirt worn by Rene, her mother. Lois also remembers her mother being "a better piano player than a cook or a sewer" and " made in the tradition of making do from a family who knew how". The family structure is as follows: Rene married Bob Densham and had three daughters: Doreen (Saunders), Betty and Lois Densham. Betty married Bob Neyland and they have a son, Chris.Quilt, child's coverlet made of woollen squares from suits and jackets. Colours are greens and browns.quilting history, running stitch group, running stitch collection, densham, mrs rene elizabeth neyland, mr chris, quilting - history

Any faults in the final product can be repaired by mending. Prior to more advanced machinery, fabric was draped over a mending table and carefully inspected for faults. Quick eyes and nimble fingers were needed. Repairing faults was a highly skilled manual operation. Any knot or thickness had to be removed without affecting the quality of the fabric and mending had to be invisible. In the 1930s to make the day pass faster, popular records were played to the factory workers in the mending room. The top of the table is propped up to make it a well-lit surface over which bolts of fabric were unrolled to check for faults. Menders repaired them with invisible hand stitching. Each weaver stitched a coloured thread in the selvage to show the start of their shift, therefore if mistakes were found the company could easily find who was responsible. This table was used by Gail Morris in teh 1960s. Large wooden table with tilted top. mending table, wool processing, fabric, textile industry

The Medal for Long Service and Good Conduct (Military) is a medal awarded to regular members of the armed forces. It was instituted by King George V in 1930 and replaced the Army Long Service and Good Conduct Medal as well as the Permanent Forces of the Empire Beyond the Seas Medal. The medal was originally awarded to Regular Army warrant officers, non-commissioned officers and men of the UK Armed Forces. It also had a number of territorial versions for the Permanent Forces of the British Dominions. The eligibility criteria were relaxed in 1947 to also allow the award of the medal to officers who had served a minimum period in the ranks before being commissioned. Since 2016, the eligibility was widened to include officers who had never served in the ranks, and so the medal can now be awarded to all regular members of the British Army who meet the required length of service.Long Service and Good Conduct Medal awarded to 218218 K V L Dinnervalemedal, ls&gcm, dinnervale

An aneroid barometer is an instrument used for measuring air pressure as a method that does not involve liquid. Invented in 1844 by French scientist Lucien Vidi, the aneroid barometer uses a small, flexible metal box called an aneroid cell (capsule), which is made from an alloy of beryllium and copper. The evacuated capsule (or usually several capsules, stacked to add up their movements) is prevented from collapsing by a strong spring. Small changes in external air pressure cause the cell to expand or contract. This expansion and contraction drives mechanical levers such that the tiny movements of the capsule are amplified and displayed on the face of the aneroid barometer. Many models include a manually set needle which is used to mark the current measurement so a change can be seen. This type of barometer is common in homes and in recreational boats. It is also used in meteorology, mostly in barographs and as a pressure instrument in radiosondes.5 inch Aneroid barometer on wooden basebarometer, aneroid

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Prue Sanderson, in her groundbreaking ‘City of Kew Urban Conservation Study : Volume 2 - Development History’ (1988), summarised the periods of urban development and subdivisions of land in Kew. The periods that she identified included 1845-1880, 1880-1893, 1893-1921, 1921-1933, 1933-1943, and Post-War Development. These periods were selected as they represented periods of rapid growth or decline in urban development. An obvious starting point for Sanderson’s groupings involved population growth and the associated economic cycles. These cycles also highlighted urban expansion onto land that was predominantly rural, although in other cases it represented the decline and breakup of large estates. A number of the plans in the Kew Historical Society’s collection can also be found in other collections, such as those of the State Library of Victoria and the Boroondara Library Service. A number are however unique to the collection.The Kew Historical Society collection includes almost 100 subdivision plans pertaining to suburbs of the City of Melbourne. Most of these are of Kew, Kew East or Studley Park, although a smaller number are plans of Camberwell, Deepdene, Balwyn and Hawthorn. It is believed that the majority of the plans were gifted to the Society by persons connected with the real estate firm - J. R. Mathers and McMillan, 136 Cotham Road, Kew. The Plans in the collection are rarely in pristine form, being working plans on which the agent would write notes and record lots sold and the prices of these. The subdivision plans are historically significant examples of the growth of urban Melbourne from the beginning of the 20th Century up until the 1980s. A number of the plans are double-sided and often include a photograph on the reverse. A number of the latter are by noted photographers such as J.E. Barnes.Coloured lithograph of a subdivision plan of the Studley Park Estate, bordered by Yarra, Willsmere Road and the Outer Circle Railway line. The estate was listed in 1910 and was the subject of a planning dispute between the developer and the Town of Kew in relation to flood levels and the suitability of the land for housing. In many cases the names of streets were subsequently changed. The layout was also affected by the creation of the Eastern Freeway. A newspaper report of the day described the subdivision as a: "GOLDEN OPPORTUNITY. We are pleased to submit for PRIVATE SALE that magnificent ESTATE, situated only 4 1/2 miles from the Melbourne General Post Office, STUDLEY PARK ESTATE. KF/NV. Doubtless the CHEAPEST LAND EVER OFFERED having extensive frontages to the prettiest spot on the River Yarra and the National Park, commanding lovely river and landscape views, and acknowledged to be the finest land available so close to the city. The PRICES ARE EXTREMELY MODERATE; The TERMS ARE SIMPLY MARVELLOUS. NO DEPOSIT. NO DEPOSIT. NO DEPOSIT. Allotments and prices to suit everyone."subdivision plans - kew, studley park estate

Pru Sanderson, in her groundbreaking ‘City of Kew Urban Conservation Study : Volume 2 - Development History’ (1988), summarised the periods of urban development and subdivisions of land in Kew. The periods that she identified included 1845-1880, 1880-1893, 1893-1921, 1921-1933, 1933-1943, and Post-War Development. These periods were selected as they represented periods of rapid growth or decline in urban development. An obvious starting point for Sanderson’s groupings involved population growth and the associated economic cycles. These cycles also highlighted urban expansion onto land that was predominantly rural, although in other cases it represented the decline and breakup of large estates. A number of the plans in the Kew Historical Society’s collection can also be found in other collections, such as those of the State Library of Victoria and the Boroondara Library Service. A number are however unique to the collection.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 ‘Studley Heights Estate’ on the South Side of Studley Park Road was launched in 1936. The seventeen allotments in the subdivision fronted Hyton Crescent and Studley Park Road.subdivision plans - kew, studley heights estate

Pru Sanderson, in her groundbreaking ‘City of Kew Urban Conservation Study : Volume 2 - Development History’ (1988), summarised the periods of urban development and subdivisions of land in Kew. The periods that she identified included 1845-1880, 1880-1893, 1893-1921, 1921-1933, 1933-1943, and Post-War Development. These periods were selected as they represented periods of rapid growth or decline in urban development. An obvious starting point for Sanderson’s groupings involved population growth and the associated economic cycles. These cycles also highlighted urban expansion onto land that was predominantly rural, although in other cases it represented the decline and breakup of large estates. A number of the plans in the Kew Historical Society’s collection can also be found in other collections, such as those of the State Library of Victoria and the Boroondara Library Service. A number are however unique to the collection.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 first subdivision of Monnington took place in 1935. At that time, Monnington and 10 new allotments were offered for sale bordering Adeney and Marshall Avenues. In this subdivision plan, Monnington is one of 13 lots for sale. The subdivision created the irregular land holding of Monnington today. The excision of southwest corner of Monninton was caused by the need to have regular allotments facing the curve in Marshall Avenue.monnington - adeney avenue -- kew (vic.), subdivision plans -- kew (vic.)

Pru Sanderson, in her groundbreaking ‘City of Kew Urban Conservation Study : Volume 2 - Development History’ (1988), summarised the periods of urban development and subdivisions of land in Kew. The periods that she identified included 1845-1880, 1880-1893, 1893-1921, 1921-1933, 1933-1943, and Post-War Development. These periods were selected as they represented periods of rapid growth or decline in urban development. An obvious starting point for Sanderson’s groupings involved population growth and the associated economic cycles. These cycles also highlighted urban expansion onto land that was predominantly rural, although in other cases it represented the decline and breakup of large estates. A number of the plans in the Kew Historical Society’s collection can also be found in other collections, such as those of the State Library of Victoria and the Boroondara Library Service. A number are however unique to the collection.The Kew Historical Society collection includes almost 100 subdivision plans pertaining to suburbs of the City of Melbourne. Most of these are of Kew, Kew East or Studley Park, although a smaller number are plans of Camberwell, Deepdene, Balwyn and Hawthorn. It is believed that the majority of the plans were gifted to the Society by persons connected with the real estate firm - J. R. Mathers and McMillan, 136 Cotham Road, Kew. The Plans in the collection are rarely in pristine form, being working plans on which the agent would write notes and record lots sold and the prices of these. The subdivision plans are historically significant examples of the growth of urban Melbourne from the beginning of the 20th Century up until the 1980s. A number of the plans are double-sided and often include a photograph on the reverse. A number of the latter are by noted photographers such as J.E. Barnes.The first subdivision of Goldthorns created the Goldthorns Hill Estate. Following that subdivision, seven additional lots were offered between Normanby Road, Argyle Road and Lady Loch’s Drive on the proviso that the estate, including Goldthorns was not sold as a single lot. The subdivision plan advises that the lots are situated in one of the most charming and popular residential areas in Kew and is surrounded by modern homes. Typically, the subdivision plan proposes the advantage of its proximity to Cotham Road and the tram to Collins Street. Because of the elevation of Goldthorns, much is made of the ‘bright, sunny and extensive outlook to the Northern Ranges’ and that it overlooks the Yarra Valley. One of the more interesting aspects of the plan is that it shows the outline of Goldthorns in the mid to late 1920s. Its profile today remains virtually the same."Goldthorns" House Estate at topsubdivision plans - kew, goldthorns house estate

Pru Sanderson, in her groundbreaking ‘City of Kew Urban Conservation Study : Volume 2 - Development History’ (1988), summarised the periods of urban development and subdivisions of land in Kew. The periods that she identified included 1845-1880, 1880-1893, 1893-1921, 1921-1933, 1933-1943, and Post-War Development. These periods were selected as they represented periods of rapid growth or decline in urban development. An obvious starting point for Sanderson’s groupings involved population growth and the associated economic cycles. These cycles also highlighted urban expansion onto land that was predominantly rural, although in other cases it represented the decline and breakup of large estates. A number of the plans in the Kew Historical Society’s collection can also be found in other collections, such as those of the State Library of Victoria and the Boroondara Library Service. A number are however unique to the collection.The Kew Historical Society collection includes almost 100 subdivision plans pertaining to suburbs of the City of Melbourne. Most of these are of Kew, Kew East or Studley Park, although a smaller number are plans of Camberwell, Deepdene, Balwyn and Hawthorn. It is believed that the majority of the plans were gifted to the Society by persons connected with the real estate firm - J. R. Mathers and McMillan, 136 Cotham Road, Kew. The Plans in the collection are rarely in pristine form, being working plans on which the agent would write notes and record lots sold and the prices of these. The subdivision plans are historically significant examples of the growth of urban Melbourne from the beginning of the 20th Century up until the 1980s. A number of the plans are double-sided and often include a photograph on the reverse. A number of the latter are by noted photographers such as J.E. Barnes.An unnamed subdivision in Studley Park including five lots for sale in Studley Park Road, Highfield Grove and Tara Avenue. Unidentified on the plan, but clearly existing, are the Henty family mansion of Field Place and Tara Hall in Studley Park Road. The first attempted subdivision of Tara Hall was advertised in 1927 in which Lots 5, 6 and 7 in this plan were also advertised. Unusually, Lot 2 in Studley Park Road was created from the northern part of the Henty mansion, rather than Tara Hall. In the subdivision, lots were advertised at varying prices, with the highest price for land being Lot 2 in Studley Park Road. The plan notes that only one villa is to be allowed on each allotment.subdivision plans - kew, field place subdivision -- studley park – kew (vic.), highfield grove – kew (vic.), tara avenue – kew (vic.)