Showing 1800 items
matching original print
-
Duldig Studio museum + sculpture garden
Fabric, Mathilda Flogl, Falter designed by Mathilda Flogl 1924-31, 1924-31
This piece of fabric, known Fälter (butterfly), was designed by Mathilda Flögl (1893-1958), who worked in the textile department of the Wiener Werkstätte in Vienna. It is a remnant of the fabric that was used to make a bedspread for Karl and Slawa’s bed in their Vienna apartment where it lay decoratively over a gold brocade eiderdown. The purchase demonstrated Slawa’s interest in and knowledge of modern design and her commitment to the idea of enriching everyday life with beautiful objects, a principal of the Viennese Secession. Following the Duldigs removal from Vienna, the original bedspread and remnant were safeguarded and preserved by Slawa’s sister, Rella, in the basement of her Paris apartment. In 1948 the bedspread and this remnant were sent to Australia. The bedspread was a much-loved item but deteriorated over the years. In 1955 it was made into curtains, which are held in the Duldig Studio Collection. The Photographs of the bedspread in its original location are also held in the collection. The remnant is in pristine condition. The Wiener Werkstätte (Vienna Workshop) was a guild of designers and craftsmen that was founded by the architect Josef Hoffman (1879-1956) and the designer Koloman Moser (1868-1918). The firm manufactured a range of interior furnishings between 1903 and 1932. The textile department opened in 1900, and produced about 1,800 designs, mainly for printed fabrics for furnishings and apparel. The designs were characterised by simplified forms and vivid colours, and inspired by Eastern European peasant art and geometric motifs in contemporary painting. The workshop had a profound impact of European art and design, and its work is still celebrated today. Mathilde Flögl was born in the Czech Republic in 1893, and studied at the Kunstgerwerbeschule in Vienna. In 1916 she began working at the Weiner Werkstätte, and where she designed more than 120 textile patterns. This fabric Fälter or Butterfly was designed in 1924. The butterfly was a favourite motif of Flögl. In this design she plays with a variety of whimsical abstractions and arrangement of both the butterfly and the snail on a background of abstract colour stripes and blocks. Ann Carew 2016The fabric is of great aesthetic interest as an example of the work of the Viennese workshops, and the noted designer textile designer Mathilde Flögl. The original pencil drawings, pencil and gouache designs, and fabric swatches for Fälter are held in the MAK Museum in Vienna, and the Victorian and Albert Museum in London have a sample of piece of the silk fabric in an alternate colour wave. The Museum of Applied Arts in Sydney holds a swatch book of textiles from the Wiener Werkstätte, however Flögl’s work is not represented. The National Gallery of Victoria holds a similar swatch book. The remnant has an excellent provenance, is associated with a powerful personal narrative, and is significant and rare item relating to history of the Wiener Werkstätte in Vienna, and the oeuvre of Matilda Flögl. Ann Carew 2016Remnant of a block-printed silk fabric used to make the bedspread for Karl Duldig and Slawa Horowitz-Duldig's bed in Vienna. -
Stawell Historical Society Inc
Photograph, Sister Rocks -- 3 photos
... and 3 prints of the originals. c1930's ... & white photographs of Sister Rock's and 3 prints of the originals ...Three black & white original photo's of Sister Rock's c 1930's. Also 3 enlarged copies of the original three photographs showing more details of the photographs. Two of the photos have a person sitting on top of the Sister's Rock's and one just of the graffiti rocks with trees in the foreground.Three original black & white photographs of Sister Rock's and 3 prints of the originals. c1930's Sister's Rock's 57stawell scenery -
Stawell Historical Society Inc
Photograph, Mr Geo. Mitchell & Sons shop in Main Street Stawell c 1920
... . Stawell. Taken early c 1920's. This print taken from the original... in Main St. Stawell. The original of this photo was taken in c ...Copied photo of George Mitchell drapery shop in Main St. Stawell. Taken early c 1920's. This print taken from the original show the same display window of the c 1984 photograph but has a different awning with around 6 or 7 columns holding up the awning. Copied photograph of George Mitchell shop front in Main St. Stawell. The original of this photo was taken in c 1920.George Mitchellstawell -
Brighton Historical Society
Dress and shoes, 1958
Brighton local Margaret Cooke (nee Parish) had this dress made for the Miss Summer Festival competition fundraiser. The idea for the dress came from a photograph in the Womens' Weekly. A professional dressmaker cut and made the dress. It has an 18" waist. There is a black and white photocopy on file of the dress being worn at the time.Floral cotton dress with matching belt and shoes. Sleeveless polished cotton cream dress with large red, pink and brown rose print. Heavily ruched front. The skirt has an in-built crinoline structure made with thick Vielene lining and corded hoops. Separate belt with bow at centre front. Shoes made to match by 'Suzette' in their original box. .1- dress .2 - belt .3 a-b - pair of shoes .4 a-b - shoe box and lidShoes - Label, printed in gold on white leather in sock: Suzette / Styled in / NEW YORK-PARIS-ST. LOUISprinted fabric, miss summer festival, 1950s, margaret cooke -
Brighton Historical Society
Dress, Evening dress, c.1955
This dress belonged to Louris White, nee Larsen-Disney, whose wedding dress from 1948 is also in the collection. Louris and her husband lived at 49 South Road, Brighton, just a few doors down from her family.Strapless pink organza cocktail-length dress. Finely pleated bodice and skirt laid on to a heavy vilene. Decorated around the waist with pink organza flowers and two bands of pink satin, one around the bodice and the other around the lower part of the skirt.Label: printed black on cream acetate side front bodice: "Original / Margeaux / REGD. / of Melbourne / IMPORTED FABRIC"evening dress, 1950s fashion, louris holly white, brighton, margeaux of melbourne, joseph haskin -
Brighton Historical Society
Gloves, Gloves with original paper bag, c.1948
These gloves belonged to Maria Frisch who had survived a number of concentration camps during the war and emigrated with her daughter Anne to Australia in 1948. Maria and her daughter Anne were Polish Jews. As a small child Anne had been smuggled out of the Krakow ghetto in 1942 and was taken in by a Polish woman. At the end of the war Anne was reunited with her mother in Krakow. In 1945 they travelled to Italy to be with Maria's sister Ida who had lived in Florence since the 1930s. When Maria and Anne emigrated to Melbourne, they lived in Martin Street, Brighton. Maria's husband, and Anne's father, perished in Mauthausen concentration camp. Maria Entenberg married Jack Frisch in Melbourne in 1952.Pair of black suede gloves with original paper bag from Florence. The gloves are embroidered with small pink rosebuds and green leaves. They are unused and are still tacked together. T0098.1 - left glove T0098.2 - right glove T0098.3 - paper bagPaper bag, printed in blue and red: "Vasto assortimento GUANTI in pelle / A LARGE STOCK OF KID GLOVES / BEFORE YOU BUY, VISIT US / ELEGANCE AT LOW PRICES / MARIA PIA NICCOLINI / P.za S. Lorenzo Stand N. 21 / FIRENZEgloves, florence, emigration, holocaust, maria frisch, anne gouttman -
Brighton Historical Society
Dress
This item is part of the Di Reidie collection. Diane Reidie was a much loved volunteer and President of Brighton Historical Society from 1999 until 2016. Originally from New Zealand, Di and her family lived in Male Street, Brighton for many years. A vibrant and energetic person with a zest for life and a gift for bringing people together, Di was a friend to many in the Bayside community and active in local community organisations. Her tireless work as President of BHS saw her named Bayside Citizen of the Year in 2008. As a seller and collector of vintage clothing, she was passionate about fashion history; one of her many enduring contributions to BHS was her extensive work in preserving, developing and promoting the Society's costume collection. In 2018-19, Di donated more than one hundred items from her personal vintage clothing collection to the Society. The collection, which includes clothing, hats, handbags and shoes from local and international designers, is representative of Di's wide-ranging interests, colourful personality, creativity, humour and love of fashion and travel. Di purchased this dress as a vintage item and wore it during the years 2010-18, before donating it to BHS. The Mooney sisters, Nell and Ida, were situated beside the Regent Theatre in Collins Street, Melbourne and were well respected milliners and dressmakers.Short sleeved peach silk dress (.1) featuring beige lace appliqué on neckline, along with original rectangular brown cardboard box (.2).Label: "MF 2900 / Misses Mooney / of Collins Street" Printed on lid of box: "Misses Mooney / 189 Collins Street, Melbourne"di reidie, vintage clothing, misses mooney, melbourne designers -
Latrobe Regional Gallery
Print, CHEVALIER, Nicholas, Barkers Bluff, Near Cape Schanck, 1860
Chromo lithographVerso: bot. c. label "BARKER'S BLUFF, NEAR CAPE SCHANCK, From an Original Painting BY N. CHEVALIER. Printed by C. TROEDEL, 100 Swanston- St." Inscription bot. c. on border "442 x 560", "CHEVALIER 1860". Insciption l.r. cnr. embossed watermark "CHA TROEDEL,. CHROMO LITHOGRAPHIC ESTABLISHMENT, 100 SWANSTON ST (encircled)" -
Latrobe Regional Gallery
Print, SCHELL, Frederick B. b. c.1838 d.1905, Wilson's Promontory, c. 1890
Wood engraving. Not an original work. Signed with monogram lower right corner of image 'S.F' (stylised). Lower right area within image, word 'Echen'. Not dated. -
National Wool Museum
CD, The Weaver from Meltham
Recorded from the original 33 1/3 vinyl disc by Ken HirstPlastic CD case containing a copy of the recording of the radio play 'The Weaver from Meltham'. Printed coverThe Weaver From Meltham The true story of an Old Colonial Mill by Ivan Southallgodfrey hirst, ivan southall -
National Wool Museum
Stencil
Wool bale stencil owned and used by donor. Donor was a wool classer in New South Wales working from the 1960s to c2000. This stencil was used by the donor as they traveled from station to station and was used to stencil their registration number on the bales of wool that they had classed. The stencil was created by the Australian Wool Corporation who mailed the stencil to the donor. We also have the original envelope.Metal rectangular wool bale stencil. Stencil has cutouts of a sheep head symbol on left side and the number '83' and 'PI' on either side of an Australia shape on the top right. There are three horizontal rectangles below this, and below them is the number 54719. Faintly engraved at the top is the text AWC PROPERTY / NOT TRANSFERABLE. Rear of stencil is a shiny light metallic colour. Front side is scratched and stained, particularly around the text areas. This would be due to use. Associated envelope is worn and becoming frail. It is a cream colour with heavy staining and opened on the right side. Top left has a printed return address, top right has a stamp area. Affixed postal address is for the donor and that is above a blue stamped text reading IMPORTANT / DO NOT BEND. Back of envelope has a stamped print of the stencil and another bright red stamp. Possibly put there by the donor. -
National Wool Museum
Ledger, 1936-1937
Found in the National Wool Museum, may have been used in the wool brokers office display. Although it is unclear, we believe it may be the original wool broker ledger for one of the agents working out of the Dennys Lascelles building. Ledger contains an alphabetic list (by surname) of all wool growers who sold through this agent/broker, including name, number of bales/fadges/sacks, property address, bale stencil used, stock agent rebate and date of arrival. There is also a list of new clients on the back pages.Cloth-bound cardboard front and back cover ledger. Covers and spine are brown. Pale brown sticker on front indicates the year, some of the numbers are printed in reverse. Ledger contains lined pages with headings below which is hand-written text in pen and pencil, listing names and details in alphabetical order. -
National Wool Museum
Instrument - Scales, 1880-1898
At the time of sale, the last of the Hirst family to work in the mill located in Geelong gave Donald (donor Bruce's father) Doherty a set of scales that had been used by several generations of Hirsts and adapted by them over time for specific use in their mill. These Scales were saved from waste and being thrown away at the time of sale to remain in use in the industry in the hands of someone who knew how to use them. The scales were used in calculating the weight of cloth and simultaneously calculating the amount of yarn required to weave it following the instructions printed within the box. The box bears the signatures of two Hirst family members, one being Lewis Hirst dated at 1898. The original brass pole has been replaced with a replica metal somewhere throughout the years after the brass pole broke through use. Hirst was brought by McKendrick in the 1960s and these scales sat for 12 months as part of the 12 month "cooling off" period. The scales were then handed to Donald rather than being disposed of.Scales used for weighing and calculating weight and thread count of textile samples. Originated from Godfrey Hirst Mills in Geelong. Writing describes how to utilise scales. Scales are made from brass, pole for holding scales once brass now replaced with metal pole. Scales held inside wooden box with black text in ink depicting use of scales on paper located inside and outside of box.Outside of box. Wording: APPARTUS for TESTING the WEIGHT per YARD of CLOTHS & COUNT of YARN from a small SAMPLE. -------------------------------------------------------------------------------------------------------------------------------------------------- Indispensable to Manufactures, Merchants & handling Woollen, Worsted, Cotton, Linen, Jute, Hemp, Flannel, Felt, Army, Navy, Police, Railway, Sail & other Cloths -------------------------------------------------------------------------------------------------------------------------------------------------- USED IN GOVERNMENT DEPARTMENTS -------------------------------------------------------------------------------------------------------------------------------------------------- The apparatus consists of Scales, Weights, 1, 2 & 4 sq. inch Cutting Templates & Book of Tables --------------------------------------------------------------------------------------------------------------------------------------------------By weighing a small Sample the accurate Weight in Ounces of a yard of Cloth any width from 18 to 64 inches, the Weight per Square Metre in Grams, the Counts* of Warp and Weft, and the approximate length of full & short ends of pieces of fabrics, [without unrolling and measuring for stocktaking & other purposes] can be ascertained without any Calculation --------------------------------------------------------------------------------------------------------------------------------------------------Price in United Kingdom, 25s., Carriage Paid. Price to Canada & U.S.A. $6.75 do. H. Lord. 10, And Place, Bradford, England. --------------------------------------------------------------------------------------------------------------------------------------------------*When ordering, state on what system you base your YARN COUNTS. Inside of box. Wording: DIRECTIONS FOR USE --------------------------------------------------------------------------------------------------------------------------------------------------TESTING WEIGHT OF CLOTHS. Place sample to be tested on a piece of cardboard, put a Cutting Template on it, cut card and cloth round template with scissors and weigh it according to instructions given in Book of Tables. TESTING FOR YARN COUNTS. Cut out 1 square inch of cloth, draw out wrap or weft threads, according to which is being tested, and the number of inches so drawn, that balance respective weight is the approximate Count. The same rule holds good when number of inches are drawn from a bobbin. In testing from the cloth, allowance has to be made for loss or gain in the process of manufacture. Weight marked C is for Cotton Counts " " W " " Worsted " " " WS " " Woollen Skeins " " L " " Linen Counts. The weights for testing samples of cloth are 20, 10, 10, 5, 3, 2, 1, grains in brass & '5, '3, '2, '1 [tenths of a grain] in aluminium. Inside of box. Signtures, handwritten: Bottom right: Lewis Hirst !898 Top Left (Smudge ?) W Hirst !935godfrey hirst, hirst family, textile design, textile creation -
St Kilda Historical Society
Postcard - Print colour, 1873
Early image of Alfred Square St Kilda with surrounding builldings. Reproduced from the original at the Athenaeum Clubcolour reproduction of original oil painting 1873. Meet of Melbourne hounds in Alfred Square. Meet of Melbourne Hounds at St Kilda painting by permission of the Committee on the Athenaeum club Melbourne -
St Kilda Historical Society
Photograph, View of Esplanade, St Kilda, c. 1906
Esplanade and Alfred Square, Boer War memorialcolour postcard, unmounted, originalwritten on front: 'from Norma Martin(?), printed: View of Esplanade, St Kilda, post marked 1907 -
St Kilda Historical Society
Photograph, Harringtons, Luna Park, c. 1930s
... and white photograph, unmounted, original, fair condition Printed ...Entrance to Luna Park undergoing renovations during the 1930s; a group of 8 young men in private school uniform in mounth area; Accompanying letter from Bob Scalesblack and white photograph, unmounted, original, fair conditionPrinted by Harringtons -
St Kilda Historical Society
Photograph, J.A. Mackenzie, Pier St Kilda
Shows Alfred Square, Boer War memorial, St Kilda Pier and Port Phillip BayBlack and White original postcard.Pier St Kilda. Post Card. J.A. MacKenzie, Barkly st, St Kilda. Printed in Germany. Donated by Miss M. McAvoy. Historical Society of St Kilda. -
St Kilda Historical Society
Photograph, Rose Stereograph Co, St Kilda Beach, 1927
... and white postcard, original, good condition [front, printed ...Crowds on Beach, St Kilda. The Shelter Pavilion, Catani Gardens. The Rose Series Postcardblack and white postcard, original, good condition[front, printed] The Rose Series p. 2395; Crowds on Beach, St. Kilda [back, handwritten, pencil] 1940-60 [postcard imprint] -
St Kilda Historical Society
Postcard, R W Thomas, Marie Studholme
R W Thomas Postcard of Marie Studholme boarding a horse carriagetinted colour postcard, unmounted, original, good conditionPost Card printed in Great Britain. Valentine's Series R W Thomas, Photo -
Uniting Church Archives - Synod of Victoria
Print, H Room, C. 1820
Rev. Richard Fletcher (1800 - 1861), born in Newcastle-upon-Tyne, was agent of the Colonial Missionary Society and came to Australia with his wife and five children after the discovery of gold in Australia. The original of this engraving is in the Scottish National Portrait Gallery (Print Room).Black and white portrait print of engraving of the head and shoulders of Rev. Richard Fletcher with an inscription. He is wearing Regency clothing, looking to his left and is holding a paper. The print appears to be taken from a book and tipped onto a piece of brown paper."Revd. Richard Fletcher Manchester"colonial missionary society, rev richard fletcher independent minister -
Uniting Church Archives - Synod of Victoria
Photograph, C. 1950s
Extract from The Spectator of June 12, 1946: "From the Queensland 'Methodist Times'. Dreams do come true. At any rate, that is what the Rev. Cliff Lanham believes, who after the lapse of several years finds that his early dream of a Flying Patrol for the Inland is now an actuality. The Methodist Inland Mission Board has purchased from the Disposals Commission of the R.A.A.F. a De Haviland Fox Moth Biplane. Indeed, two machines have been bought, but one will be broken up for spare parts. This 'new angel of the air' is fitted with a 130 h.p. engine and possesses a cruising speed of 100 miles per hour. The petrol consumption is only that of a big six-cylinder car—18 miles per gallon. In addition to the pilot there is room for three passengers, and a stretcher is installed whereby urgent cases of sickness or accident can be flown to the nearest hospital. In this machine, Mr Lanham proposes to cover the whole of S. W. Queensland and a portion of the Northern Territory from his headquarters at Mt Isa. It takes little imagination to realise what a boon the 'flying parson' will be to those of the great outback." …. "Before [Mr Lanham] inaugurated the scheme [the idea of a flying parson] he spent his first furlough from inland mission work (and incidentally £60) learning to fly. 'In a month,' he says whimsically, 'I was a pilot of sorts.' Mr Lanham is a son of the Church. His parents were staunch Methodists, and their home offered generous hospitality to mininsters and preachers. His brother, the Rev. Percy Lanham, M.A., died in Libya when on active service as a chaplain. His widowed mother must be proud of her tall, stalwart son, whom the Church now sends forth on his flying mission for the Lord. May he ever be wafted through inland skies on two wings and a prayer." It is of interest to note that although Cliff Lanham's brother, Percy, is listed in the Methodist Church of Australasia's Ministerial Index (9th Edition, Revised to 1961) Cliff Lanham himself is not listed as either active or deceased.Three B&W identical photographs of Lanham standing next to a Methodist Inland Mission bi-plane. Lanham and an unidentified man are holding a stretcher between them with a boy of about 10-11 on it. They seem to be exiting the plane. The original photograph F69-1 is a 110x65 mm Kodak print; the other two are 195x145 mm enlargements. Lanham is wearing a white shirt and grey trousers, the other person is wearing a safari helmet.All three photos identify "Rev. Cliff Lanham" on the back. They seem to have been originally used or intended for use by The Spectator.lanham, cliff, queensland, methodist inland mission, flying parson -
Uniting Church Archives - Synod of Victoria
Printed letterhead, 1888
Printed letterhead image of Wesley College on original letter dated June 27 1888.wesley college melbourne -
Wangaratta RSL Sub Branch
Framed print, Menin Gate at Midnight
The original art piece was painted by Australian artist Will Longstaff after he attended the unveiling ceremony of the Menin Gate memorial at the entrance of the Belgian town of Ypres in 1927. It was purchased in 1928 for 2000 guineas and presented to the Australia Government by British Philanthropist Lord Woolavington The memorial is inscribed with the names of 54,000 British and Commonwealth soldiers killed in Flanders with no known grave, over 6000 are Australians.The image commemorates those soldiers with no marked graves who died on the Western Front during the First World War.Dark wooden frame with gold gilt inner edge containing cream mount over a dark blue print with large cream coloured arched monument in distance.menin gate, will longstaff, lord woolavington -
Hume City Civic Collection
Booklet, Emu Bottom 1836
This booklet was produced for the benefit of tourists or anyone visiting Emu Bottom homestead when it was open for tourists to look around the property. On special days a blacksmith would also be operating. It gives information about the house, the original owner and builder George Evans and his wife Anne Evans. It also tells of the arrival of George Evans on board the 'Enterprise' in 1835. Emu Bottom has had several owners since the Evan's family owned the property and was at one stage known as Holly Green before reverting back to its original name. Emu Bottom at present is a commercial venue for hire.A cream and brown small printed booklet showing a early photo of Emu Bottom with men and horses attending to the property on the front and back cover. It has 16 pages including the covers. Various drawings and photos are in the booklet as well as printed information of the property.EMU BOTTOM 1836emu bottom homestead, emu bottom, holly green, george evans, anne evans -
Kew Historical Society Inc
Work on paper, Pickwick Portfolio 1897-1904, 1904
The Pickwick Club of Kew was founded by local residents in 1897. In 1904 it produced its first publication - Pickwick Portfolio Vol.1 No.1 - for which the local artist and member Alice Marion Ellen Bale (1875-1955) designed this frontispiece. The frontispiece was printed in Volume 1/1 and adapted for Vol.1/2 in 1912. Each member of the Club adopted a pseudonym from a work by Charles Dickens. Alice Bale is recorded in the 1912 edition as using the name Mark Tapley, a character in Martin Chuzzlewit (Dickens, 1842). Gift of the Friends of the KHS Collection, 2022Frontispiece, created in watercolour and ink on artist's paper, for the first edition of the Pickwick Portfolio of 1904 by the Kew Pickwick Club. Signed lower left by Mark Tapley, the pseudonym within the Club of the artist A.M.E. Bale.Lower left in pencil "Mark Tapley" (pseudonym). Initials above to the right AMEB (Alice ME Bale)a m e bale, pickwick clubs, pickwick club of kew -
Kew Historical Society Inc
Photograph - Harp of Erin Tram Terminus, c.1916
An electrified tram route from Melbourne along High Street replaced an original Horse Tram that terminated at the Kew Cemetery. This new tram only reached the bridge over the Outer Circle railway at the Harp Junction. The line was later extended to North Balwyn.Black and white print positive of the Tram Terminus in High Street, Kew at the Harp of Erin hotel. "Harp of Erin Tram Terminus about 1916. House on left still standing behind delicatessen [in 1978]. / Courtesy Mrs E Bennett, Kew East / Property of Miss Foley."tramways, mmtb, tram terminus, no 48 tram route, harp of erin hotel, trams - kew, trams - kew east -
Kew Historical Society Inc
Photograph - Looking towards Kew from Strathalbyn Street and High Street, c.1916
An electrified tram route from Melbourne along High Street replaced an original Horse Tram that terminated at the Kew Cemetery. This new tram only reached the bridge over the Outer Circle railway at the Harp Junction. The line was later extended to North Balwyn.Black and white print positive showing the view west along High Street, Kew (formerly Bulleen Road). In the centre distance is the Boroondara General (Kew) Cemetery. In the foreground, the road crosses the Outer Circle railway. The photograph reflects the level of urbanisation in Kew during the First World War. "Looking towards Kew from Strathalbyn St / High St corner, about 1916. Courtesy Mrs E Bennett, Kew East / Property of Miss Foley"trams -- kew, trams -- kew east, mmtb, m&mtb, tramways, harp junction -
Kew Historical Society Inc
Photograph - Horse Tram re-enactment, 1990
The original route of the Kew Horse tram extended from Victoria Bridge to the Boroondara General (Kew) Cemetery. This colour photograph, with 15 others are enlargements gifted to the Society by Mel Lawrence in 2016. They were taken at a commemorative event at the Kew Tram Depot.Laminated colour enlargement of a horse-drawn tram leaving the Kew Tram Depot in 1990. The printed word 'Kew' was presumably added for the event. Annotation reverse: "Kew Depot 1990. Horse tram re-enactment (unsure about origin of tram car)"kew tram depot, kew horse tram -
Kew Historical Society Inc
Photograph - Horse Tram in High Street South, 1990
The original route of the Kew Horse tram extended from Victoria Bridge to the Boroondara General (Kew) Cemetery. This colour photograph, with 15 others are enlargements gifted to the Society by Mel Lawrence in 2016. They were taken at a commemorative event at the Kew Tram Depot.Laminated colour enlargement of a horse-drawn tram in High Street South after leaving the Kew Tram Depot in 1990. The printed word 'Kew' was presumably added for the event. Annotation reverse: "Kew Depot 1990. Horse tram in High St. Sth followed by V Class 214"kew tram depot, kew horse tram -
Kew Historical Society Inc
Photograph - Rotunda, Boroondara General (Kew) Cemetery
Architect and surveyor, Albert Purchas, is believed to be the designer of the cast iron entrance gates (1889), the rotunda (1890) and the surrounding ornamental brick wall (1895–6), as well as various additions to the original 1860 Cottage in the period 1866–1899 including the clock tower.Colour print positive photograph of the restored rotunda, surrounded by graves in the Boroondara (Kew) Cemetery.Nil