A Wilson Famous Player Series, Tony Trabert Victory tennis racquet. Base of head on obverse features Wilson logo. Throat featuresmodel name beneath a crowned shield device, with a 'V' in the centre. Shaft features a decal head and shoulders photo image of a young Trabert. Leather handle grip features quatrefoil perforations. Inscription along right side of shaft: ENDORSED BY/THE NATIONAL CHAMPION. Materials: Wood, Nylon, Leather, Ribbon, Glue, Metal, Lacquer, Cloth, Painttennis

A Wilson Famous Player Series, Tony Trabert Victory tennis racquet. Base of head on obverse features Wilson logo. Throat features model name beneath a crowned shield device, with a 'V' in the centre. Shaft features a decal head and shoulders photo image of a young Trabert. Leather handle grip features quatrefoil perforations. Inscription along right side of shaft: ENDORSED BY/THE NATIONAL CHAMPION. Materials: Wood, Nylon, Leather, Ribbon, Glue, Metal, Lacquer, Paint, Adhesive tape, Plastictennis

A Wilson Famous Player Series, Tony Trabert Victory tennis racquet. Base of head on obverse features Wilson logo. Throat features model name beneath a crowned shield device, with a 'V' in the centre. Shaft features a decal head and shoulders photo image of a young Trabert. Leather handle grip features quatrefoil perforations. Inscription along right side of shaft: ENDORSED BY/THE NATIONAL [C]HAM[PION]. Materials: Wood, Nylon, Leather, Ribbon, Glue, Metal, Lacquer, Paint, Adhesive tape, Plastic, Clothtennis

Book: 'The Art of Lawn Tennis'. 176 pages. Hardcover. Second edition (first published 1920). Autograph & inscription by author on front free endpaper: 'SINCERELY YOURS/WILLIAM J. TILDEN 2ND/INDIANAPOLIS JULY 1923/NATIONAL CLAY COURT/CHAMPIONSHIP'. Materials: Paper, Ink, Cardboardtennis

Book: 'Official Souvenir Program and Score Card, National Championship Lawn Tennis Tournaments'. 32 pages. Hardcover. Materials: Paper, Ink, Cardboardtennis

Two identical court barriers (.1-.2) used around the late 1980's during the Ford Australian Open, at the National Tennis Centre at Flinders Park (now Melbourne Park). The Ford logo features prominently across the two faces of each barrier. Materials: Tarpaulin, Foam, Metal, Inktennis

Newspaper page from Frank Leslie's Illustrated Newspaper; page 121 of Sept. 20 1890 issue. Features two reproduced engravings: 1) entitled 'CHAMPIONSHIP CUPS FOR SINGLES AND DOUBLES AND "ALL COMERS" TROPHIES', depiting a range of trophies on a shelf; and 2) entitled: 'SCENE OF THE CAMPBELL-SLOCUM CONTEST FOR THE LAWN-TENNIS CHAMPIONSHIP OF THE UNITED STATES ON THE GROUNDS OF THE NEWPORT CASINO', depicting a tennis match surrounded by a crowd on spectators. Photocopy of news article 'THE NATIONAL LAWN TENNIS TOURNAMENT' from same publication is adhered to backing. UV glass. Materials: Ink, Paper, Glass, Metal, Woodtennis

Trophy. Unglazed white ceramic figurine of a tennis player on a wood base. Plaque reads: 'FIRST TENNESSEE NATIONAL ASSOCIATION/1984 TENNIS CLASSIC/MEN'S GROUND STROKE ACCURACY - RUNNER UP'. Sticker on base reads 'EBAY $20.65'. ANother sticker states: 'GOEBEL/BAVARIA-W.GERMANY/LIMITED EDITION/1285/2500'. Materials: Ceramic, Wood, Metaltennis

Programme: NATIONAL SINGLES LAWN TENNIS CHAMPIONSHIPS 1935. Materials: Paper, Inktennis

Pages 118-119 of Frank Leslie's Illustrated Newspaper (20 Sept. 1890) features an article, written by F.B. Campbell, entitled: THE NATIONAL LAWN TENNIS/TOURNAMENT. Materials: Paper, Inktennis

Page 854 of Harper's Weekly (Vol. 42, No. 2175) featuring an article entitled: THE NATIONAL TENNIS/CHAMPIONSHIP. Materials: Paper, Inktennis

Page 585 of Harper's Weekly (Vol. 26, No. 1343) features a colour lithographic print by Weldon, entitled: LAWN TENNIS AT NEWPORT. Following page features article entitled: THE NATIONAL LAWN TENNIS TOURNAMENT. Materials: Paper, Inktennis

Programme of the 1947 National Intercollegiate Tennis Championships Materials: Paper, Inktennis

Programme of the 1948 National Intercollegiate Tennis Championships Materials: Paper, Inktennis

Programme of the 76th National Intercollegiate Tennis Championships Materials: Paper, Inktennis

Programme of the National Doubles Lawn Tennis Championships Materials: Paper, Inktennis

In 1979, a series of photographs of significant gardens in Kew (Victoria) were taken during a tour by Peter Watts, Historic Gardens Coordinator of National Trust Victoria. These were later purchased to add to the collection. In the case of each photo the colour had badly degraded over time. Original colour (degraded) positive photograph of 'Raheen', Studley Park Road, , Kew. A view of the south facing facade. Annotated in ink on reverse: "Raheen Front View with sweeping driveway / Oct 1979"gardens -- kew (vic.), raheen, studley park road -- kew (vic.)

An item forming part of a collection of costumes, photographs and documents relating to the Weir family who lived in a mansion, originally named Illapa, at 84 Princess Street, Kew, from c.1917 to 1950. This historically significant collection includes items relating to both George Weir (1866-1937), his wife Edith Mary Weir (1867-1948) and their children. George Weir attained national prominence in the mining industry, becoming General Manager of the North Broken Hill Silver Mining Company in 1903 (later renamed North Broken Hill Mining Company 1905-12, and North Broken Hill Ltd 1912-1988), and subsequently President of the Mine Owners Association. He was to remain General Manager of North Broken Hill Ltd until his retirement in 1926.Small black and white photograph of a panoramic view from the tower of 84 Princess Street, Kew during the occupation of the house by the Weir family during the years 1918-1950. The house and garden had formerly been named Illapa and then Parcnacilla. In 1950 the family sold the house to a religious order who renamed the house 'The Towers'. It now forms part of 'Rylands'.illapa -- 84 princess street -- kew (vic.), aerial photographs -- kew (vic.), studley park (kew) -1930s

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 the historic house 'Neama', (now demolished) Studley Park Road, Kew. Inscription: "Hall - St. Paul's School for the Blind." Signed lower right: "JStewart 78".joy stewart, neama, st paiul's school for the blind, studley park road (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 the 'Brunt House, which was designed by McIntyre Partnership Architects in 1953.Inscription: "Studley Park, Kew." Signed lower right: "JStewart"joy stewart, studley park (kew)

Empire Day had been initiated following the death of Queen Victoria and was held throughout the Empire from 1901-58. The main day of celebration was on 24 May, the date of Queen Victoria’s birthday. The Balwyn fundraising button was created for an appeal three days before the official date. Frances Rigg was a local business identity in Kew, at one stage managing the local branch of the English, Scottish and Australian (ES&A) Bank at 175 High Street from c. 1920 until the 1940s. After Francis Rigg’s death, the collection of buttons and medallions was inherited by his son, Ken Rigg (1922-2014). The collection was subsequently donated to the Kew Historical Society in 2015 by Francis' grandson, Adrian Rigg, at the time of the Gallipoli & Beyond Commemoration in 2015. The collection covers a period of almost 40 years. The majority of the buttons are patriotic buttons, issued and sold during and immediately after the First World World War (1914-1918) to raise funds for national and overseas causes. The collection also includes a number of locally significant sporting event buttons and sporting club medallions, issued in the 1920s and 1930sPatriotic and other pressed tin buttons and badges were produced in large numbers in the first decades of the twentieth century. By nature, insubstantial and ephemeral, they have not always survived. The collections of badges, buttons and medallions in the Kew Historical Society collection is homogenous and yet diverse, ranging from buttons sold to raise funds for the war efforts in 1914-18 and 1939-45, to those used at festivals and sporting events. Because of the manufacturing process, many surviving buttons and badges have been affected by inadequate storage, suffering from oxidisation and physical damage. These survivors are now historically and socially significant artefacts, revealing much about the attitudes and values of the period in which they were produced. Their widespread distribution means that they are frequently significant at a local, state, national and international level.An Empire Day fundraising button from 1921. The white enamelled button depicts in the centre an image of the Balwyn War Memorial in Beckett Park surmounted by a red ensign."Balwyn Empire Day Celebrations, Appeal for the Blind, May 21st 1921"patriotic buttons, empire day, balwyn war memorial - beckett park

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.Document, issued by the Council for Scientific and Industrial Research [CSIRO], East Melbourne in 1944, terminating the employment of Mr. G. H. Rogers of 29 Park Crescent, Kew. The Permit was issued by the Commonwealth Department of Labour and National Service."G.H. Rogers, Jun. Asst. from Council for Scientific & Industrial Research East Melbourne"second world war 1939-1945, csiro, george h rogers

Sydney : Angus and Robertson in association with the State Planning Authority of N.S.W., 1965 48 p. : ill., map, plans ; 25 cm. non-fictionsydney (n.s.w.) -- historic buildings

The architect, Edward Kilburn designed Byram in the Arts & Crafts style for the industrialist George Ramsden. Construction began in 1888 and was reputed to have lasted three years. The mansion had frontages to Studley Park Road and Stevenson Street, including gardens laid out with great taste, including pleasure grounds, tennis lawn, fruit and flower garden, and paddock.The size of many of the trees in the garden indicate that many survived from the garden of Clifton Villa, the previous single-storeyed house built on the site by the Stevenson brothers. Byram had views to Melbourne and Port Phillip Bay. The house was demolished in 1960, despite opposition from the National Trust (Victoria), and its gardens subdivided into residential allotments.An early photograph of Goathland (also known as Byram, Lowan and Tara Hall). The photo shows the front of the building during the period of Sir Malcolm McEacharn’s occupation of the house (1901-11). Edward George Kilburn, of Ellerker & Kilburn, had originally designed the house for the industrialist George Ramsden in 1888. When Sir Malcolm McEacharn purchased Byram, he was to rename it as Goathland. This has led to some confusion, as Goathland was also the name used for McEacharn’s other home in St. Kilda. The period of McEacharn’s ownership represented the high point of the mansion’s history. 'Lost Glories: a memorial to forgotten Australian buildings' was published by David Latta in 1986. It tells the story of a number of significant Australian buildings that had previously been demolished. A chapter in the book was devoted to Goathland, later known as Tara Hall. To supplement the text, he sourced photographs from a range of suppliers, chiefly the Royal Women's Hospital which had once owned Tara Hall, but had sold it in 1960. This is one of the photographs donated to KHS by the author."'Goathland', The Residence of Sir Malcolm D McEacharn"byram, goathland, tara hall, lowan, studley park road -- kew (vic.), melbourne mansions, e g kilburn - architect

Colour transparency (slide) created in June 1976 during a tour by the Junior National Trust, which was led by members of Kew Historical Society. The collection of 21 slides reveals that the tour covered all parts of Kew, but focused understandably on heritage buildings and sites.Image of an historic place in Kew that can be dated to an exact time and place. The images, albeit amateurish in composition, frequently reveal aspects of important buildings and sites that have changed over time.35mm colour transparency of Raheen in Studley Park Road, Kew in 1976. The building of the house commenced in 1870, while major additions were made in 1884. The view is of the fence and tower. Presumably the photograph was taken from Studley Park Road. The property was still during this period the palace of the Catholic Archbishop of Melbourne. The colour of the slide has degraded over time. historic houses -- kew (vic.), raheen -- studley park road -- kew (vic.)