Black and white photograph, mounted on cardboard. Group of people with row of flags in background. Bluestone building on left, with large lamp. Brick and timber building at rear.Front: Pioner Dinner 1912 hosted by Mayor and Mayoress, Cr. & Mrs. W.J. Williamson. Bottom - Old Pioneers Dinner given by Mayor and Mayoress, Cr. & Mrs. W.J. Williamson, 1912. Back: Date 1914 approx. Back row from left: 7th Willie Tulloh, 8th Jo Porter. Gathering of Old Pioneers Dinner given by Mayor and Mayoress, Cr. & Mrs. W.J. Williamson.pioneer dinner, 1912, portland

Sister McLean is attending a function in the RDNS Board room at 452 St. Kilda Road, Melbourne. She worked in RDNS Headquarters. The RDNS insignia on the upper left of her uniform tunic has the words "Royal District Nursing Service" written in white in the blue circle. Across the centre of the circle are two clasping hands depicted in yellow..From its founding in 1885 until 1891, the Trained nurses (Nurses) of the Melbourne District Nursing Society (MDNS) worked from their own homes which were located in the vicinity of their areas (districts). Their Committee meetings were held at the Religious Tract Society Rooms, No 3 Queen's walk, off Swanston Street and later at the Library Room in the Melbourne Town Hall. The Annual General Meetings were held in the Town Hall. In November 1891 MDNS was able to rent a two story terraced house at 66 Cardigan Street, Carlton, at £65 a year, which contained accommodation for three Trained nurses (Nurse) and one pupil nurse as well as being used as their Headquarters. They left from their Nurses Home each morning and returned at the end of their shift to write up their book work before retiring for the day. Three years later they moved into a larger terraced house at 49 Drummond Street Carlton which was rented at ‘a very moderate rental’. There was a Board room, apartments for the Nurses and pupil nurses, a large dispensary which patients could attend each evening to have prescriptions signed and bottles refilled with ‘homely remedies’ and elixirs, which were administered for e.g. to Consumptive cases. Doctor’s prescriptions were filled at the Pharmacy. Cupboards containing donated blankets and bedclothes for needy patients were kept in this room, and it was here where the Nurses kept their nursing bags which were refilled at the end of each shift ready for any emergency and for the next day. A list of Doctors the Nurses could call was kept by the telephone. The home also had a kitchen where nourishing soup was made and distributed twice a week to the needy. Milk was also distributed when needed. In 1902 they moved into rented premises at 188 Leicester Street, Carlton and two years later, in 1904, to premises at 5 Royal Terrace, Nicholson Street, Fitzroy where they remained for ten years. In June 1914 at last the Society had sufficient funding to purchase their own terraced premises, ‘Floraston’ 39 Victoria Parade, Collingwood which was their Headquarters and Nurses Home. In 1926 the After-Care Home for recovering patients, (later called After-Care Hospital) was built by the Society next door, running from 41-47 Victoria Parade (became No. 45); the District nurses continued to live at No. 39. In November 1953 the District Nursing Division moved into their new Headquarters and Nurses Home at 452 St. Kilda Road, Melbourne but as the Service expanded into the suburbs Centres were opened and their Trained nurses (Sisters) worked from home, so the Nurses Home section of 452 was closed and turned into more administrative areas. In 1996 Headquarters were relocated to 31 Alma Road, St. Kilda.Coloured photograph of the upper view of Sister Kath McLean of the Royal District Nursing Service (RDNS) who has short straight dark hair and is smiling as she sits holding a cake on a white plate. She is wearing her RDNS winter uniform; a grey skivvie under a blue/grey herringbone woolen V neck tunic style frock with a central zip. On its upper left It has the RDNS insignia of a round blue circle with writing on it, surrounded on either side by white swept up feathers towards the central crown above the circle. Under this is her name plate and a gold coloured medal. A pen is clipped into the left hand V neck section of the frock. rdns, royal district nursing service, rdns winter uniform, rdns board room, rdns headquarters, kath mclean

Geoff Davidson arrived at Dunmoochin around 1968 and began living and working as an apprentice to the potter Robert Main, who was working in a studio rented to him by Clifton Pugh on the Dunmoochin property. When Robert left, Geoff moved into the studio and began collaborating with Clifton Pugh on many projects for a period of 25 years whereby Clifton would decorate pots made by Geoff. Geoff produce the ceramic panels for Leda and the Emu. He mixed and identified the glazes for Clifton, then fired the panels once he had finished painting. Three or four murals were produced in this way, one of which was purchased by Don Dunston (ex-Premier of South Australia) as a gift to his dying wife.Dunmoochin derives its cultural and artistic heritage from the collaborative efforts of a group of artists who purchased land in Cottles Bridge in the early 1950’s. These artists (Pugh) pioneered one of the first artistic communes in Australia and created a lasting vision of how a community can gain knowledge and inspiration from living in a close relationship with nature. Pugh had explored the ‘Leda and the Swan’ mythological themes previously during the sixties in etchings and paintings, although he was more interested in referencing the original myth as allusions to other truths. Pugh was drawn to the Greek myth ‘Leda and the Swan’ in which Zeus transforms into a swan to seduce Leda. Pugh Australianised the myth so that Zeus transformed into an Emu rather than a Swan, and makes a gentle satirical comment on the sexual behaviour of the Australian male, whereby he sees a parallel between this and the proud yet awkward movements and naivety of our national bird. This particular theme was prevalent in Pugh's work right through the 60s and 70s. Leda and the Emu is a work by two prominent local artists (Clifton Pugh and Geoff Davidson) with a national and international reputation.Flat red background, black foliage. Leda is naked and sleeping with head resting in hand. Emu is to the left watching Leda. Drawing style is typical of Pugh’s work: linear, flat and gestural.Signed 'II Clifton'

This hand written letter, in black ink script on blue lined paper, is impressed with the official stamp of the Victoria Steam Navigation Board. The left margin has the reference “S82/12" It is transcribed: "Victoria Steam Navigation Board, Melbourne, January 12th 1882 To Frederick Chapman, Master, S.S. "Julia Percy" You are herewith furnished with a copy of the report of the Official Court which assembled to enquire into the circumstances attending the collision between the steamers "Julia Percy" and "Nelson" off Apollo Bay near Cape Otway on the morning of the 25th December 1881, and you are hereby expected to attend at the Board Room, Custom House, Melbourne, at 2pm, on 13th January instant to show cause why you should not be censured accordingly. [Signature] Secretary" This document refers to the matter of a collision between two steamships, the Julia Percy and the Nelson, on 25th December 1881. The Julia Percy was at that time owned by her first owners, the Warrnambool Steam Packet Company, and she sailed under the command of Captain Chapman. She had left Melbourne the evening of 24th December, with about 150 passengers, sailing in fine weather through Port Phillip Heads around 9pm. She was headed for Warrnambool, Belfast (now named Port Fairy) and Portland. The Julia Percy was off Apollo Bay when Captain Chapman was woken by the ship’s whistle after midnight, the steamer Nelson being on a collision course with the Julia Percy.[See Link.] The Nelson struck Julia Percy midship. Boats were lowered from the ship (apart from a damaged lifeboat) and about 30-40 of the passengers boarded the Nelson. The engine room and the forehold were checked and found clear of water. The company manager, Mr Evans, had been on the Nelson, so he boarded and inspected the Julia Percy and the decision was made to continue on to Warrnambool with the passengers as there appeared to be no immediate danger. However, Captain Thomas Smith said the Nelson was taking on water, so Julia Percy followed her for about an hour towards Melbourne on standby in case of need. Then Julia Percy turned around towards Warrnambool again. Shortly afterwards the Nelson turned to follow her, the ships stopped and passengers were returned to Julia Percy, and three from Julia Percy boarded the Nelson. Both ships proceeded on their way. Julia Percy passed Cape Otway light afterwards, signalling that there had been a collision. It was discovered later that one of the passengers was missing, then thought to have boarded the Nelson but later thought to have fallen into the sea and drowned while trying to jump from Julia Percy to Nelson. There had been 3 tickets purchased under the same name of that passenger “Cutler”; a father, son and friend named Wordsworth, which had caused quite some confusion. No further mishap occurred to either ship and both the Julia Percy and the Nelson reached their destinations safely. An enquiry was instigated by the Victoria Steam Navigation Board regarding the cause of the accident between the two steamships, in connection with the death of Cutler who was supposed to have lost his life by the collision. The enquiry resulted in the following decision: "The Victorian Steam Navigation Board having taken into consideration the points urged by Captain Thos [Thomas] Smith and also by his legal advisers, is of opinion that the charge prepared against him has been sustained, but taking into consideration Captain Smith’s previous good conduct and character, the board suspends his master’s certificate No 227 issued by this board for a period of six calendar months from this date – Robert Fullarton, Chairman. “The Victorian Steam Navigation Board having beard the statement of Captain Frederick Chapman urged in his defense to the charge of dereliction of duty as master of the Julia Percy, in having no standing order on board that vessel to be called in the event of any approaching steamer’s lights being seen, find such charge sustained, and censure him accordingly – Robert Fullarton, Chairman.” ABOUT “JULIA PERCY” The S.S. Julia Percy (later named Leeuwin ) was an iron passenger-cargo steam ship built in 1876. At one point in time the Julia Percy would sail from Warrnambool to Melbourne every Friday and return from Melbourne to Warrnambool every Tuesday. The cost of a return ticket for a Saloon Fare was £1.0.0. She would sail “if practical and weather permitting”. Shipping was the cheapest and most practical means of carrying produce and goods during the period 1840-1890. Regular domestic steamer services commenced in the Warrnambool district in the late 1850’s and by 1870 the passenger trade was booming. Produce was loaded from the jetty into ‘lighters’ (small boats), which took it to the ships at anchorage in the bay. Passengers were taken to the ship’s side then climbed aboard up ladders or gangways. The coming of the railway in October 1889 meant the gradual decline and end of the steam shipping era. The Julia Percy was built in Glasgow by Thomas Wingate & Company, Whiteinch, in 1876 for the Warrnambool Steam Packet Company, which commissioned her for trade in Victoria’s western district. She was first registered in Warrnambool, Victoria in 1876. The Julia Percy changed hands several times. Her next owner was the Western Steam Navigation Co (1887), managed by Mr. T.H. Osborne (the company’s office was on the corner of Timor and Liebig Streets, Its north-western wall is now part of the current Warrnambool Regional Art Gallery. ) The Melbourne Steamship Co became the next owners (1890), followed by William Howard Smith and Sons (1901) for use in Queensland coastal trades, then she was bought by George Turnbull in 1903 and used for local mail contract in Western Australia. The Julia Percy was sold to the Melbourne Steamship Company Ltd. (1906) and re-named the “Leeuwin” but continued in her Western Australian coastal run. She was converted into a coal hulk in Melbourne in 1910 as a result of damaged caused when she was driven against the jetty at Dongara during a gale. The ship was eventually dismantled and scuttled in Bass Strait on 28 December 1934. The document is significant for its association with the wreck of the Leeuwin (Julia Percy), which is on the Victorian Heritage Register, VHR S413. . It is historically significant for being a rare artefact that has potential to interpret aspects of Western Victoria’s 19th century steamship trade and Victorian cultural history. The Leeuwin (Julia Percy) is listed on the Victorian Heritage Register as being historically significant ‘as one of only four wrecks of steamships in Victorian waters associated with the western district of Victoria’s coastal steamship trade. Reports of Victoria Steam Navigation Board about the collision on 25th December 1881 between the steamers " Julia Percy" and "Nelson". Letter from Victoria Steam Navigation Board, Melbourne to Frederick Chapman, Master, S.S. "Julia Percy", dated January 12th 1882. reference on letter in left margin "S82/12"flagstaff hill, flagstaff hill –maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, victoria steam navigation board, captain frederick chapman, captain thomas smith, thomas wingate & company, steamer julia percy, steamer leeuwin, steamer nelson, steam ship, warrnambool steam packet company, t. h. ostorne, western steam navigation co., charles cutler

Construction of the town of Mount Beauty commenced in 1946 and continued until 1952. It was built to provide family accommodation for workers engaged in the construction of the hydro electric power scheme. As well as housing, there was an administration building, staff hostel, merchandising centre, workmen's camps, base stores and workshops and the Mount Beauty Terminal Station. The first house was occupied in November, 1946 by the then manager of the trading store, with a frontage onto Hollonds Street. The total number of houses erected was 488, 162 custom built and 326 prefabricated. The main workmen's camp can be seen just left of the centre of the photograph and accommodated 144 men at the time of the photograph. By 1950 it could accommodate 1200men. Photo No. 1 is taken in 1947/early 1948 as there is no evidence of the staff hostel under construction. This hostel was commenced in August/September 1948 and is clearly shown in photograph No. 2, dating this photo as 1948 as it is before the completion of the bypass road connecting to the main (high plains) road. This road was constructed in 1939 and in 1948 followed the route of Tawonga Crescent. This remained in use until the bypass construction was completed in early 1949 and does not appear to be finished in this photograph.. Both photographs are taken from the power line easement adjacent to the Bright road.Significant historical pictorial record of the development of a town from grazing land. The type of terrain that had to be surveyed and then to construct roads and other infrastructure, with very little machinery, is also of prime significance in the development of the Kiewa Hydro Electric Scheme.Two photographs, both hand painted to show colours, and both of Mount Beauty c 1947/48 not long after commencement of construction of homes and facilities for workers.Photo No.1 - on back of photo, left upper corner, faintly in pencil, SPIKE, underneath this is written T Pay,. Photo No. 2 - on back of photo, left upper corner, faintly in pencil, Jmount beauty, housing, accommodation

Khaki fur felt slouch hat fitted with a puggaree in a light green with a metal Royal Australian Engineers corps badge attached to the front, the rising sun badge attached on the left and a colour patch on the right. Front - Engraved on the Corps Badge: ER/ HONI . SOIT . QUI . MAL .Y . PENSE / ROYAL AUSTRALIAN ENGINEERS /. Left Side - Engraved on The Rising Sun Badge: THE ARMY AUSTRALIAN /. Right Side - Colour Patch Interior - Leather Lining - 1984 / 54 / MADE BY / "FAYREFIELD" / MELBOURNE Lining - HOWEhat, officer, fur-felt, peace keeping

Given to PMH&PS by the local RSL Branch on their closure in May 1998Framed photo of Sir and Lady H Chauvel passing the Guard of Honour in front of the former Seamen's Institute in Beach Street, 12 March 1938, on the opening of new location for the RSL Sub Branch. Former All Nations Hotel, Nott and Beach, visible in background.In mark lower leftsocieties clubs unions and other organisations, hotels, returned services league, rsl, sir h chauvel, lady chauvel, frank wittman

Full length Photograph of WO Wheatley VC in Uniform with fields in the background.AATTV of Left Breastphotograph, wo ka wheatley, aattv

Harry Gorry bid for & purchased on internet auction site. The seller's mother was putting these & other items up for auction. Her father/ the seller's grandfather was Dr. Bruno Koening, a German surgeon detained by Allied forces while fleeing New Guinea in 1941. He was detained & sent to be interned in Camp 3, Tatura. There he met the painter Cesare Vagarini & they became friends, thus 4 years later upon the end of the war Vagarini gave the surgeon the two paintings in thanks & in memory of their friendship. Dr Koening then passed the paintings down to his daughter, where they remained in the family for 60 years. The seller's mother decided it was time to sell & was happy that the paintings went to a good home, as the family was until now unaware of the connection between Vagarini and the Tatura Museum. Harry Gorry just happened to notice a familiar name in an auction that he came across by accident & purchased them for our benefit. (Most information copied from Tatura Bulletin article, April 2014).Watercolour painting, depicting barracks at Camp 3. Picture showing fencing posts & bare ground in foreground, and row of huts in background, with 4 trees behind them. at bottom left of picture.tatura, camp 3, vagarini

Michael HENWOOD This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Framed academic portrait of Chancellor Geoffrey Blainey, inaugural Chancellor of University of Ballarat (now Federation University Australia).Signed lower left art, artwork, michael henwood, henwood, geoffrey blainey, blainey, chancellor, academic portrait

Murray Comrie Collection. Significance of group or purpose of image not known. This photograph is a somewhat faded image created from an older original. Copy probably made by Murray Comrie in the 1970s. A group of employees of the Exchange Store and Tarnagulla Flour Mill Back row, from the left: TT Cheetham, H Johnson, P Sheehan, , W Reilly, Cheetham, B. Llewellyn. Middle row: W Fitzgerald, Carr, C Turner, T Leonard. Front row: W Lawry, D Reilly, B Cousins.Monochrome photograph depicting a group of men (some of them young men) posed in front of a peppercorn tree. Man at far left has a bicycle. Man at far right holding a pipe. Accompanying note identifies subjects as: (Left to right) Back row: P. Cheetham (with bicycle), H. Johnson, P. Sheehan, Mr, Reilly, T. Cheetham, B. Llewellyn (with pipe). Middle row: Mr. Fitzgerald, Mr. Carr, Mr. Turner (with dog), Mr. Leonard. Front row (kneeling): B. Lawry, D. Reilly, B. Cousins. tarnagulla, people

This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages. From Caulfield Heritage Management Plan 1996 by Andrew Ward In 1889, Thomas B Jackson, an architect in Shoobra Road, owned lots 61-63 at the north­ west intersection with Clarence Street. He built the two red brick houses, each of 10 rooms, known as "Kenly" and "Nulmore" (later "Brampton") in that year. By 1894, P. Langwill had purchased the property, leasing it to Fred Henriques, an accountant. Alfred Pearson a government chemist, was occupying tenant by 1899. The property was known as ''Kenly''. In 1910, the house was vacant, however, in 1920, James Edmends was living there and continued to do so in 1930. By 1941, Edmends had moved to No. 32, and Alfred Williamson was in residence. "Kenly'' is important as an unusually imposing Elizabethan influenced villa in Caulfield, comparing with nos. 25 and 36 Gladstone Parade. Its importance is enhanced by its substantially intact state whilst its link with local architect Thomas B Jackson is of interest.Page 53 of Photograph Album with two exterior photographs (one portrait and one landscape) of a double storey brick mansion.Hand written: 34 Gladstone Parade [top left] / 53 [bottom left] trevor hart, 1880's, 1890's, gladstone parade, eversley, victorian, double storey, clarence street, architectural features, nulmore, brampton, kooyong park estate, architect, shoobra road, elsternwick, kenly, elizabethan influence, thomas b jackson, p langwill, fred henriques, alfred pearson, james edmends, alfred wiliamson, house names

Page layout for Costume of Australia book, by Marion Fletcher.Page layout features sketch of twe 1870s , including bodice detail of the second dress: 1. Day Dress c.1873, from the National Gallery of Victoria; 2. Afternoon or Dinner Gown, 1877, from the National Trust of Australia (Victoria).Inscribed in blue pencil, bottom left: '64% in grey ink, bottom left: 'P2' in blue ink, bottom left: '<-----------------------164mm--------------------------->/ OUP 102[cricled]'; bottom left [running horizontally]: <---------------------187.5mm----------ink, paper

Part of "Woolcock Gallery Collection". Exhibited CEMA 1989.Framed drawing of two plant cuttings. Two drawings include one cutting of grey-green multiple stems with green leaves and white and yellow flowers and one single stem cutting with green leaves (grey-green underside) and a large white, yellow and orange flower. Mounted in a double matt (grey on apricot) in a gold painted wooded glazed frame.Front: Helichrysum obtusifolium (Blunt Everlasting) Helichrysum dealbatum (Silver " " ) (lower left) (pencil) CEW 84 (signature, left left in image) (green pencil) Back: 14 (upper left) (pen)collin woolcock, botanical, woolcock collection, cema, botanical drawings

Black and white photograph. Deborah Mine. Mullock heap, poppet head at left. Buildings centre and left. Square chimney in front.place, mining site, deborah

Art CollectionThe picture depicts a giraffe's neck sloping from the bottom right corner progressing into a giraffe's head at the top left. The background is plain, except for a yellow streak across the giraffe's neck close to the bottom. It is a front-view of the giraffe. Wood frame, thin white mount and glass.Front: 1/10 Giraffe 11 Mary MacQueen 69 (lower left centre, lead pencil) Back: Mary MacQueen "Giraffe 11" (1969) Litho (Bottom right, rectangle piece of white paper, printed)

Children of Italian internees interned during WW2 at Rushworth Camp 3. Photograph taken 10 March 1945. Left to right standing: Dante D'Elia, Bruno D'Elia, Armando D'Elia, Giuseppe Centonze, Alessandro Giorgi, Pierluigi Giorgi, Cristina Longodorni, Andrea Giorgi (far right at front). Front row sitting: Cesare Paoletti, Remo Paoletti, Vincenzo Reginato, Elena Reginato, Gabriella Giorgi holding Luisa Reginato.Black and white photograph of a group of children, some standing, some sitting. Tree stump on right hand side right next to last child. Huts in background. Tree directly behind tallest child and shrubs behind children on left. On foam backing board.857dante d'elia, bruno d'elia, armando d'elia, giuseppe centonze, alessandro giorgi, pierluigi giorgi, cristina longodorni, andrea giorgi, cesare paoletti, remo paoletti, vincenzo reginato, elana reginato, gabriella giorgi, luisa reginato

This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages.Myoora - Victorian Heritage Register (VHR) Number H0490 https://vhd.heritagecouncil.vic.gov.au/places/275 (as at 6/10/2020) Myoora, 405 Alma Road, North Caulfield, was designed by Reed, Henderson & Smart and can be attributed to Anketell Henderson. It was built in 1886 and 1887 for Thomas Christian, who had founded the fabled gold mine, the Day Dawn at Charters Towers. He never occupied the house although his widow lived there for some time. The house was subdivided into three and later six flats. Myoora was one of many large mansions on broad acres with gardens in Caulfield. Perhaps the grandest was Labassa. The mansions date from the 1850s through to the late 1890s. The siting of Myoora on a ridge influenced its planning and composition. A central hall and corridor along the ridge is entered from the centre of the more formal north facade. The entrance is marked by an elaborately detailed tower. A stair turret provides a second accent. The western end of the building is completed by a massively detailed chimney as the service wing. The south facade enjoyed an outlook to port phillip from a two-storey cast iron verandah. Bay windows, chimneys, the tower and the turret and minor details are brought together in a sophisticated asymmetrical composition. This is reflected in the planning. The asymmetry of Myoora pivoting on the tower is the most notable feature of the building. The walls are built of cement rendered brick. The cement render has not been painted. The roof is slate. The balconies and verandah are cast iron. The footings and cellar are bluestone. The architectural firm Reed, Henderson & Smart was very prominent in Victoria in the nineteenth century. Anketell Henderson was an eminent and well respected member of the profession. He worked successfully in London and interstate as well as in Victoria. They were better known for commercial and public buildings. Myoora is an important private commission. The style of Myoora is a combination of details from the Continental and English Renaissance through the boom style and the Queen Anne style. There is also an early influence from the American Romanesque style especially in the stair turret. The latter style was important at the turn of the century and Myoora is a significant precursor. Other buildings of a similar scale survive in Caulfield and elsewhere. Labassa, the most fabulous, is quite different stylistically as are most of the other comparable mansions. Stonnington is perhaps closer but relies on different details from the Queen Anne style and lacks any American influence. For its historical associations through its owners and architects, for its style and composition and for its intactness, Myoora is significant at a State level. The craftmanship of Myoora is what could be expected of a building of the time and type. It is relatively intact and in fair condition. The main staircase has been removed, minor alterations to decorative features have occurred and additions have been made to the exterior.Page 8 of Photograph Album including four black and white photographs. Three photos are in a portrait orientation, one on the left hand side of the page with the other two in the bottom part of the page. One photograph in a landscape orientation is on the top right hand side of the page. Handwritten: "Myoora" 405 Alma Rd [top right hand corner] / Neg 179 DEC 1972 [underneath bottom left photograph] / Neg 180 DEC 1972 [underneath bottom right photograph] / 8 [bottom right]caulfield north, trevor hart, alma road, mansion, myoora, tower, thomas christian, 1880's, queen anne, cement rendered brick, unpainted, balconies, verandahs, anketell henderson, continental and english renaissance, american romanesque, views, cast iron work, reed henderson & smart, flats, gardens, asymmetrical style, slate roofs, entrances

The first cricket club in Kew in was formed in 1863, and played its matches in Wellington Street, and then later in O’Shaughnessy’s Paddock. In the early 1870s, a second club was formed and played at Victoria Park. The Kew Cricket Club gained its permanent name in 1888-89. One of the named players in the photograph - Albert Watson - was the son of the local Methodist Minister. The photograph entered the collection within a donation of items by Mrs Joy Ivory, a descendant of the Watson family, and a member of the Society.The photograph, dating from 1911 has local significance as an image of participation in sport and recreation.A monochrome photograph, mounted on card of the Kew Cricket Club's first XI cricket team in 1911. Annotations on the reverse identify three of the players: Standing left with bat: George Twycross; standing right: Albert Clements; Seated third on right: Albert Watson.Presented to Kew Historical by Mrs Ivory (nee Watson) Kew Cricket Club / Standing left with the bat Mr George Twycross / Standing right Mr Bert Clements / Seated third on right Mr Albert Watson / Year 1913kew cricket club (vic), sport - kew - victoria, albert watson, albert clements, george twycross

Photo of SEC Ballarat No. 40 west bound in Bridge St. Tram has two car numbers on the front, the destination roll with black background with white lettering. Later replaced with black letters on white background. Has Morseheads shop on the left hand side, Coles store and Christmas decorations in the street. The driver of the car in front of the tram is giving a hand signal - STOP! White cardboard mount slide, taken by Peter Moses assumed Jan. 1966.On the rear of the slides in black ink "Ballarat Tram, end of Main St." and "P. Moses" in the bottom left hand corner in black ink.tramways, trams, bridge st, morseheads, tram 40

Photo shows steam-boiler equipment left to middle of photo. Three iron chimneys stand above and to the left of the boiler. Another boiler is supported by stone blocks on the right of the photo. A section of board-walk appears in the bottom left.quarrying, heatherlie

Three colour photographs showing the various road junctions near Kinglake shops. 1. St Andrews Road, Kinglake on left; Toolangi Road to left before roundabout 2. Whittlesea Road on left with Kinglake Hotel 3.kinglake, kinglake whittlesea road, hurstbridge road, kinglake healesville road

Left Hand Collar Tab. RAEMEbadge/buttons, army

Floral Notepad with few pages leftGrocery list with phone number and Patricia's own address (using her maiden name)walsh st library

significant as a work of art by local Pyrenees artist, locally significant to the Central Highlands Region of Victoria as a representation of local landscape and/or culture oil painting of streetscape with Hotel to left"Signed: Brian Nash (lower right) Verso (affixed): Artist: BRIAN NASH Title: ROYAL HOTEL SNAKE VALLEY VIC Price: $85 Address: 13/15 MOODEMERE ST NOBLE PARK Phone: 547 5447"

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.Holy Trinity Church Choir in 1937. During this period the Vicar was Rev. Roscoe Wilson and the Organist and Choirmaster was A.G. Reed. Dorothy Rogers identified her husband Victor Rogers as standing to the left of the Verger; and her son George Rogers in the front row second from right."Holy Trinity Church Choir, ca.. 191. Rev Roscoe Wilson Vicar, A.G. Reed Organist & Choirmaster. Victor Rogers (left next to Verger) Back Row. George Rogers (2nd right front row)"holy trinity church choir, high street (kew), dorothy rogers