The photo is of the coach house at 'St. Abbs', 33 York Street. John Inglis Lothian, publisher, bought St Abbs in 1903 and lived here with his family until 1908. Prior to this the property had been part of Isiah Ainger's farm. The San Miguel family lived there from 1911-1923 and in 1926 Thomas Lothian bought 'St Abbs' and his family lived there until 1974. As the donor was Miss Jean Lothian it is assumed that the photo was taken during one of the periods the Lothian family occupied the property and more likely during the earlier period. A black and white photograph of a wooden building with a number of doors and windows with lattice work in place of glass. There is a concrete area in front of the building and a ladder leaning up against the building at the right hand end.york street, surrey hills, 'st abbs', house names, san miguel family, ainger farm, lothian family, coach house, isiah ainger, thomas lothian, john inglis lothian

Original from a glass negative. Latchford's hardware was next to Ives greengrocer's.Black and white close up photo of Latchford's hardware store in Union Road taken at night with the windows lit up and decorated for Empire Day celebrations in the 1930s. The windows are festooned with streamers and pictures of the 'British lion' and a portrait, perhaps a member of the British Royal family.empire day, festivals and celebrations, latchford's hardware, w latchford & co, shops, businesses, union road shops, w latchford

This photograph was printed from a glass negative held in the Society's picture collection. The original glass negative is part of a set donated to the Society by Ian McKenzie, a professional photographer in Kew. Wedding party, ca. 1900-ca. 1920. A bride and groom pose for a family portrait in the garden of a family home. The bride in the photo can also be seen in 1995.0038. The photo was printed from a glass negative in the collection. The original glass negative is part of a set donated to the Society by Ian McKenzie.weddings, glass negatives

This photograph was printed from a glass negative held in the Society's picture collection. The original glass negative is part of a set donated to the Society by Ian McKenzie, a professional photographer in Kew. An outing to the beach, ca. 1900-ca. 1920. A group portrait of six adults and two children, taken at the beach. Given that the negative, of unknown provenance was in a collection that included a photograph of the grave of Violet Steel, the photo may be of her brothers and sisters, whose family home was in Elsternwick. The woman third from the right is the bride in 1995.0037. The photo was printed from a glass negative in the collection. The original glass negative is part of a set donated to the Society by Ian McKenzie.beaches, bathers, glass negatives

This photograph was printed from a glass negative held in the Society's picture collection. The original glass negative is part of a set donated to the Society by Ian McKenzie, a professional photographer in Kew. Three generations, ca. 1910-ca. 1920. A portrait of four women, four young girls and an infant are posed for what may be a family portrait on the verandah of a house. The matriarch of the family sits at the centre of the group. The photo was printed from a glass negative in the collection. The original glass negative is part of a set donated to the Society by Ian McKenzie.family portraits, glass negatives

This photograph was printed from a glass negative held in the Society's picture collection. The original glass negative is part of a set donated to the Society by Ian McKenzie, a professional photographer in Kew. Portrait of a family. Thirteen members of what is perhaps a family group comprised of multiple generations pose at the front of a house for a group portrait. The clothing worn by individuals in the photo range from the late Victorian period to that current when the photograph was taken. family portraits, glass negatives

Yhonnie SCARCE (1973- ) Born Woomera, South Australia Language group: Kokatha, Southern desert region and Nukunu, Spencer region Yhonnie Scarce works predominantly in glass. She majored in glass withing a Bachelor of Visual Arts (Honours) course at the South Australian School of Art, Adelaide, and holds a Master of Fine Arts from Monash University. One of the first contemporary Australian artists to explore the political and aesthetic power of glass, Scarce describes her work as ‘politically motivated and emotionally driven’. Scarce’s work often references the on-going effects of colonisation on Aboriginal people, In particular her research focus has explored the impact of the removal and relocation of Aboriginal people from their homelands and the forcible removal of Aboriginal children from their families. (https://thisisnofantasy.com/artist/yhonnie-scarce/, accessed 10 September 2018)Artist's Statement 'The More Bones the Better', 2016 Yhonnie Scarce was born in Woomera, SA and belongs to the Kokatha and Nukunu peoples. Scarce embraces a non traditional approach to glass blowing using glass as more than a mere material, acting as a lens and a mirror, Scarce reflects and exposes the tragedies of Australia’s colonisation. She applies the technical rigours of traditional glass blowing techniques in an innovative and unconventional manner. In particular Scarce uses glass to explore the lives and histories of Aboriginal Australians. Hand blown glass is shaped, engraved, painted and smashed to create indigenous fruits and vegetables such as bush bananas, bush plums and long yams symbolic of her peoples culture and traditions. With their elongated, torso-like shapes, they even evoke human bodies. Akin to a gatherer of bush food Scarce creates glass-gatherings of the persecuted. The repetition of brittle ambiguous bodies collected for experimentation and examination conjures the relentless impact of colonisation and the litany of abuses suffered by Aboriginal people. Within her research Scarce encountered a variety of ethnographic studies examining the use of scientific interventions amongst Indigenous cultures. These include Government sanctioned illegal drug testing of children in orphanages and other dubious medical practices amongst indigenous prison inmates. This work metaphorically looks at these situations and poses questions of what might have gone on in such a laboratory. The judge of the 2017 Guirguis New Art Prize (GNAP), Simon Maidment, Senior Curator, Contemporary Art, National Gallery of Victoria said; “The winning work by Yhonnie Scarce captures the sensitivity to materials she displays throughout her artistic practice. The blown and shattered glass elements are a delicate contrast to the shocking and little discussed histories of Aboriginal exploitation and abuse in the name of science in Australia. Engaging this topic, this work is haunting, in the same way those lived and documented experiences continue to haunt the collective unconscious of this country. Yhonnie Scarce’s work, The More Bones the Better 2016, I believe makes an important contribution to the Collection of Federation University Australia and will engage and move diverse audiences with its technical accomplishment, beauty and message. Yhonnie Scarce was born in Woomera SA and belongs to the Kokatha and Nukunu peoples. Scarce embraces a non-traditional approach to glass blowing using her medium as more than a mere material. Applying the technical rigours of traditional glass blowing in an innovative and unconventional manner, Scarce’s glass objects act as a lens and a mirror to reflect and expose the tragedies of Australia’s colonisation and, in particular, explore the lives and histories of Aboriginal Australians. Hand-blown glass is shaped, engraved, painted and smashed to represent indigenous fruits and vegetables such as bush bananas, bush plums and long yams, symbolic of Scarce’s people’s culture and traditions. While these elongated shapes on the one hand represent fruit and vegetables, gathered and grouped as in the gathering of bush food, Scarce’s torso-like bodies and forms are glass ‘gatherings’ representative of the gathering of people. Here, the many brittle bodies act as a metaphor for the collection, experimentation and examinations undertaken by government authorities on Aboriginal communities researched by Scarce. Exposing a variety of ethnographic studies, examining the use of scientific interventions on Indigenous cultures, Scarce also revealed Government sanctioned illegal drug testing of children in orphanages and other dubious medical practices undertaken on indigenous prison inmates. Scarce’s gatherings also reflect the impact of colonisation and the relentless conjuring and litany of abuses suffered by Aboriginal people. The More Bones the Better metaphorically looks at these situations and poses questions of what was undertaken and investigated in these laboratories. guirguis new art prize, yhonnie scarce, glass, aboriginal

The Martin Family records held within our archives includes photographs and documents pertaining to three families - the Bissetts, Perrys, and Martins - connected across five generations by marriage. The collection records life events such as marriage, images of members of the families, as well as snapshots of daily life Small glass negative of twins, Gertrude and Jean Perry, in a prammartin family collection, gertrude perry, jean perry

The Melbourne and Metropolitan Board of Works (MMBW) plans were produced from the 1890s to the 1950s. They were crucial to the design and development of Melbourne's sewerage and drainage system. The plans, at a scale of 40 feet to 1 inch (1:480), provide a detailed historical record of Melbourne streetscapes and environmental features. Each plan covers one or two street blocks (roughly six streets), showing details of buildings, including garden layouts and ownership boundaries, and features such as laneways, drains, bridges, parks, municipal boundaries and other prominent landmarks as they existed at the time each plan was produced. (Source: State Library of Victoria)This plan forms part of a large group of MMBW plans and maps that was donated to the Society by the Mr Poulter, City Engineer of the City of Kew in 1989. Within this collection, thirty-five hand-coloured plans, backed with linen, are of statewide significance as they include annotations that provide details of construction materials used in buildings in the first decade of the 20th century as well as additional information about land ownership and usage. The copies in the Public Record Office Victoria and the State Library of Victoria are monochrome versions which do not denote building materials so that the maps in this collection are invaluable and unique tools for researchers and heritage consultants. A number of the plans are not held in the collection of the State Library of Victoria so they have the additional attribute of rarity.Original survey plan, issued by the MMBW to a contractor with responsibility for constructing sewers in the area identified on the plan within the Borough of Kew. The plan was at some stage hand-coloured, possibly by the contractor, but more likely by officers working in the Engineering Department of the Borough and later Town, then City of Kew. The hand-coloured sections of buildings on the plan were used to denote masonry or brick constructions (pink), weatherboard constructions (yellow), and public buildings (grey). The area represented in this detail plan has undergone significant change during the 20th century. The widening of High Street in the 1930s and 1950s involved the shops on the south side of High Street being demolished and later rebuilt to fit the widened street. Another significant loss was the mansion ‘Drayton’ fronting Wellington Street, owned at this stage by Susannah Fenton. Her family name would later to be given to Fenton Way, which was to be built over the grounds of the house following its demolition. The plan of the garden is particularly interesting, containing a batten dome fronting Wellington Street, an ornamental pond, a fountain and a brick and glass conservatory. The notes by the plumbing contractor on this plan are particularly detailed. Pink borders delineate the ownership of the varying parcels of land. Some of the better known owners listed include the real estate agent Cr. Henry de Castres Kellett (bt) and John Padbury, the funeral director. This particular plan provides a clear view of the configuration of the Kew Junction in 1903 and the commercial buildings that surrounded it.melbourne and metropolitan board of works, detail plans, maps - borough of kew, mmbw 1580, cartography

DEATH OF MR. H. NEWMAN. Widespread regret will be felt at the announcement of the death of Mr Henry Newman, an old colonist and a member of firm of Newman and Sons Proprietary Limited, jewellers, which occurred at his residence, "Sadova," William street, on Saturday, at the age of 89 years. Mr Newman who was born at Riga, in Russia, went to England when a lad, became naturalised, and emigrated to Victoria 61 years ago. He tried his fortune at Ballarat but soon afterwards returned to Melbourne, and began business as a jeweller, on a site in Collins street that is now occupied by Scott's Hotel. A few years later Mr Newman went back to England, where he was married. On his return to Victoria again he resumed his jewellery business in Elizabeth street opposite the General Post-office. An interesting fact in connection with his business is that his first journeyman watchmaker was Mr. Thomas Gaunt, the founder of the firm of Messrs. T. Gaunt & Co. Five years ago Mr. Newman retired from the business, which has since been carried on by his two elder sons. Although he took no active part in public affairs, Mr Newman was held in high regard on account of his business integrity, sterling personal worth. and the unostentatious way in which he did good. His vitality, even in his later years, was wonderful. On four occasions he met with accidents, having been twice knocked down by motorcars and twice by trams, without having sustained injury. A widow and grown up family of four sons and four daughters survive him. The Age Monday 27 October 1913, page 9. Roy Cronin 156 High Street Kew Jeweller and watchmaker. East side between Denmark Street and Cotham Road. Wood, enamel, brass and glass wall clock, the movement made by H Newman of Collins Street, Melbourne. A small label on the interior records the name R. Cronin, 156 High St, Kew, 1/7/20. It is unclear whether Cronin, a watchmaker and jeweller may have repaired or sold the clock. The clock (broken) is housed in a steel box.roy cronin - watchmaker - jeweller - kew (vic), h newman - melbourne (vic) - collins street - jeweller - clockmaker

While telescopes and binoculars each have a long history, handheld optical telescopes were still widely used in the Nineteenth Century. The origins of this small optical telescope are unclear, apart from that it was used by a family in Kew in the 1880s.Brass, brown leather and glass telescope, anecdotally recorded as used by an early Kew family at sports days in the 1880sSeparate later label: "Early telescope owned by a Kew family & used on Sports Day in 1880s"sports - kew (vic), optical telescopes, hand-held telescopes

The base of the round tower dates back to the 11th century around the time of the Norman Conquest. It collapsed in 1822. In the 15th century the benches in the south aisle were constructed, originally without backs. The screen now painted brown was painted in colours during the Middle Ages. There is practically no stained glass in this church except for a small Flemish 15th century panel in the east window and a tiny head in the window in the south aisle of the nave. Evidence of the destructive work of the Reformers can be seen on the font where chisel marks can be seen, and the removal of a rood beam or loft. This was reached by a staircase, the remains of which can be seen near the pulpit. The pulpit is part of a 17th century three-decker. The hour glass used to time sermons is still in place near the pulpit. There are a few personal memorials in the church. Ingworth has for centuries been a village run b the people living in it. Many of them now lie in the churchyard, while at least one member of the Harmer family from Baconsthorpe and Ingworth emigrated to Australia, settling in Victoria. Information extracted from booklet researched and written by Valerie Belton.st lawrence church, ingworth, england

The crowd are gathered around the former Rupertswood gun which originally was a piece of field equipment used by the Rupertswood Battery. The Clarke family eventually gave it the the residents of Sunbury. Today it is encased in a special glass case and displayed opposite the Sunbury Memorial Hall on the Village Green.Anon-digital black and white photograph of a crowd of people seated around a large gun in an open area.rupertswood battery, rupertswood gun

Brown decorated timber frame, cream shadow box mounting card, booklet, photocopy text, glass. Black printed text reads -Autograph Book / Belonging to Geelong Supporter / Kenneth W. Cavey- and -Donated by / Peter Price / and Family-. There is a photocopy of a blue front cover of a booklet with the text -Autographs-. On the left of the display is an opened booklet with notes and autographs hand-written in pencil and pen. Display is protected by glass. Rear of frame has a Kardinia Picture Frames sticker and a fabric cord running horizontally which is used to hang the item.Autographs of 1934. Les Hardiman. Reg Hickey. Angie Muller. Bob Troughton. Clive Coles. Lou Daily. Alex McGregor. George Todd. George Moloney. Jack Walker. Jack Williams. Jack Metherell. Jack Carney. Len Metherell. Bill Kuhlken. Allan Everett. Jack Collins. Peter Hardiman. Tom Arklay. Joe Tucker. Jack Lyons. Norm Glenister. Gus Leishman.gfc 1934 team, geelong cats 1934

This is a print of a Supermarine Spitfire Mk1, 19th SQN, Royal Air Force, RAF Duxford -Summer 1940. (Refer https://ww2-weapons.com/supermarine-spitfire-mk-i-2/ ) ( This Print was kindly donated by the Family of the Late Alan Leslie Menlove British Soldier ) The print has description in writing regarding - Propeller, Merlin Engine, Spitfire Genesis, Armour Protection, Stopping the Luftwaffe, Spitfire P9386, No. 19 Sqn, Subsequent Spitfires, Armament, Carburettor, Main Undercarriage, Tactics, Camouflage, Manoeuvrability Wooden dark stain frame, glass protection over print. . Refer Physical description and photographs.

The Sunbury Gun was originally donated to the Shire of Bulla by the Clarke family. For many years it stood at the intersection of Barkly, Stawell and Macedon Streets. Over the years it became very dilapidated and as traffic along Macedon Street gradually increased it was decided to refresh and relocate it to a triangular site opposite the Memorial Hall in 1970. In March 1982, the weathered Sunbury Gun was restored and housed in an atmospherically controlled glass case and displayed again in the triangular site opposite the Memorial Hall along with the War Memorial and the Starkie fountain.A non-digital black and white photograph of a gun in a large building.sunbury gun, memorial hall, clarke family, stawell street, barkly street

Brooch from Martin family originally from Paisley, Scotland. They were a pioneer family in South Gippsland.Small oblong gold brooch. Centre has a small compartment containing human hair. The compartment has a border of black enamel and a glass front.costume accessories, female

Brown glass bottle with screw cap containing liniment including a brown cardboard box.Sloans Family Linament.medicine, first aid, glass technology, bottles

The parkland is part of the Village Green, which is surrounded by Barkly, Brook and Macedon Streets in Sunbury. In the foreground is the temperature controlled glass building which houses the restored Armstrong twelve pounder gun that the Clarke family gifted to the people of Sunbury in 1922. For many years it stood in the open at the junction of Macedon, Stawell and Barkly Streets until 1970. The Starkie Water Fountain is on the LHS of the image. The cream building in the middle distance is the Memorial Hall, formerly the Mechanics Institute, built in 1885 and the red brick building is the former Sunbury State School. St. Mary's Church Hall is the small building in the distance.In 1973 Shire of Bulla council closed off Stawell Street to create the Village Green for a passive recreation area, which also included a section for the placing of important memorials. The green space has become a popular recreation area close to the town centre for Sunbury residents.A non-digital coloured photograph of parkland with lawn and elm trees, interspersed with four buildings. A glassed in structure with a hipped roof is in the foreground. A red-bricked building with white trim as well as a cream building is in the middle distance and a smaller brick building is in the distance.sunbury gun, stawell street, memorial hall, j.d.starkie memorial, barkly street, macedon street, sunbury village green

Belonged to donor's grandmother, Mrs. Esther Gledhill. Esther came from a pioneer family and was married to Robert Gledhill who was a sleeper cutter for the railways.'Carnival Ware' glass bowl with three fluted edges standing on three legs. Leaf and berry pattern inside.glass technology, carnival

Till CollectionTHE TILL COLLECTION SIGNIFICANCE STATEMENT|The significance of the Alwyn Till Collection is that Alwyn was born in Mitcham in 1921. He attended Mitcham Primary School and Box Hill Boys High School. He served his Community mainly through his activities within the Christ Church Anglican Church Mitcham. He joined the Royal Australian Airforce in World War II in September 1939. He trained as a Pilot in Australia and Canada, was posted to England and saw action in Europe. He was shot down over France and rescued by and then joined the French Resistance and while fighting with them was fatally shot. A Baron fighting with him wrote to his mother to inform her of his death.|Alwyn's parents were Evaleen Victoria Till (nee Maggs) and Sydney Norman Till who first lived in Creek Road Mitcham, before moving to 573 Whitehorse Road Mitcham. His father served in World War I where his eyesight was damaged and he was taught by the then Blind Institute in suitcase making of which we have two examples in this collection. He died in 1931. Alwyn took over responsibility for his mother and sister Alison. We can understand how devastated his mother and sister would have been at the news of Alwyn's feeling that he must serve his country in World War 11.|His letters home were so precious to them that they carefully kept all his correspondence, notices of death and condolences from friends. After Alison's death in 2007 her relation Joan Walker transcribed each of Alwyn's letters home into two bound volumes. The executors, Joan Walker and Anne Drew deposited the original letters with the Whitehorse Historical Society. Due to their significance as historical documents of one serviceman's complete correspondence with his family the Whitehorse Historical Society Committee after consultation with the donors deposited the original letters with the State Library of Victoria. The Whitehorse Historical Society retains the copies.|Alison and her mother kept many family memorabilia and personal items which make up this significant collection as they show how people lived, worked and served in the local community and municipality.|This collection represents the love and devotion of the women to their families during the course of two world wars. The father was disabled as a result of World War 1 and died an early death and a son who thereafter took on the responsibility as head of the family at an early age. This young handsome charismatic son served his community in peace time and gave his life in World War 11. This mother and sister were devoted to his memory.Silver bow with glass ball suspended from bow and silver metal band. A safety chain and pin is attachedcostume accessories, jewellery

From the Till collection.THE TILL COLLECTION SIGNIFICANCE STATEMENT|The significance of the Alwyn Till Collection is that Alwyn was born in Mitcham in 1921. He attended Mitcham Primary School and Box Hill Boys High School. He served his Community mainly through his activities within the Christ Church Anglican Church Mitcham. He joined the Royal Australian Airforce in World War II in September 1939. He trained as a Pilot in Australia and Canada, was posted to England and saw action in Europe. He was shot down over France and rescued by and then joined the French Resistance and while fighting with them was fatally shot. A Baron fighting with him wrote to his mother to inform her of his death.|Alwyn's parents were Evaleen Victoria Till (nee Maggs) and Sydney Norman Till who first lived in Creek Road Mitcham, before moving to 573 Whitehorse Road Mitcham. His father served in World War I where his eyesight was damaged and he was taught by the then Blind Institute in suitcase making of which we have two examples in this collection. He died in 1931. Alwyn took over responsibility for his mother and sister Alison. We can understand how devastated his mother and sister would have been at the news of Alwyn's feeling that he must serve his country in World War 11.|His letters home were so precious to them that they carefully kept all his correspondence, notices of death and condolences from friends. After Alison's death in 2007 her relation Joan Walker transcribed each of Alwyn's letters home into two bound volumes. The executors, Joan Walker and Anne Drew deposited the original letters with the Whitehorse Historical Society. Due to their significance as historical documents of one serviceman's complete correspondence with his family the Whitehorse Historical Society Committee after consultation with the donors deposited the original letters with the State Library of Victoria. The Whitehorse Historical Society retains the copies.|Alison and her mother kept many family memorabilia and personal items which make up this significant collection as they show how people lived, worked and served in the local community and municipality.|This collection represents the love and devotion of the women to their families during the course of two world wars. The father was disabled as a result of World War 1 and died an early death and a son who thereafter took on the responsibility as head of the family at an early age. This young handsome charismatic son served his community in peace time and gave his life in World War 11. This mother and sister were devoted to his memory.Metal and glass cruet set comprising of metal stand with four glass containers. Two have glass stoppers and two have metal tops. Base of stand is square with four round metal holders for containers and a metal handle.Made in england . EPNS,SUPREMEdomestic items, table setting

Used by donor's familyElectric cooker - slow - cylinder shape - orange with brown and yellow stripes. Glass lid - knob on lid. Controls - Off/High/Low. 'Crock - Cooker'. Two handles for lifting and three legs to support cooker off bench.Made in Japan. General Electric Model No. SC10domestic items, cooking

Donated by the daughter of Edith and Ron Palmer. Bride Edith Lidgerwood married Alexander Palmer on 11 January 1936 at the Box Hill Methodist Church with the reception at the Box Hill Town Hall.The Best Man was the brother of the Groom, Murray Palmer. The bridesmaids were twins, Daphne and Violet Lidgerwood. The Groomsman was Russell Evans. The twin flowergirls were Rona and Margaret Kerr. For full family history and photos of Edith's wedding and sister, Ellen's wedding see Supplementary File NA3818. The dress was worn by Edith at her wedding and Veil worn by both sisters Edith and Ellen Lidgerwood at their wedding ceremonies, Edith in 1936 and Ellen in 1937.Prominent Box Hill families1936 cream textured crepe dress featuring a cowl neck and long sleeve, slit at shoulder to create cowl effect. Slim at lower arm to a point over the hand and fastened at seam with press stud. Bodice cut on the cross under the bust. Cut on the cross figure fitting skirt to the floor, complete with long train. On the back is a slit opening fastened with hook and eye and glass clear buttons. Below the slit are eight glass buttons with false rouleau button loops. The train is made of an added detachable piece. The veil was also worn by her sister at her wedding but with different headdresses. Headdress has small circle of flowers and berries. See veil and headdress NA3817.costume, female ceremonial

Nothing is known about the origin. IN 1895 Emma Blanche Annie Dear married Alfred Ernest Wellard, a young Methodist Minister in Tasmania and this was her churn. The Wellards used it in both Tasmania and Victoria. Later, it was handed on to their daughter Winsome Faith when she married Archibald Dufty, a farmer from the Wimmera. By then it was kept as an interesting relic of earlier days, as farming families in the 1920s and 1930s usually made their butter in Cherry butter churns. In the 1980s it was passed on to their daughter, Patricia Gibbons having only been used at several Farm Day Demonstrations in the previous sixty years.Large glass container, iron mechanism with tin lid for container and a wooden paddle. Wooden handle to turn cog mechanism.glass technology, glassware