When he died in February 1883, Wombeetch Puyuun was the last member of the Liwura Gundidj clan still living on Country at Camperdown. The Wombeetch Puyuun Grave Monument was erected by his friend and Guardian, James Dawson in 1885, largely at his own expense. At the top is engraved 1840, which marked the beginning of the demise of the local First Nations people. Below are a boomerang, a club, and a message stick. At the bottom is the year 1883 which saw the last of the local First Nations people on Country with the death of Wombeetch Puyuun. On the base are the words: "In memory of the Aborigines of this district. Here lies the body of the chief, Wombeetch Puyuun, and the last of the local tribes". Standing facing the monument is Kaawirn Kuunawarn (Hissing Swan), Elder of the Kirroe Wuurong tribe.Kaawirn Kuunawarn (Hissing Swan at the Wombeetch Puyuun Grave Monument in the Camperdown Cemeterycdhs, djargurd wurrung, djargurdwurrung, cdhsfirstnations, first nations people

The Lehmann toy company exported toys to the USA from 1895 to 1929 and specialized in mechanical, friction transportation and lithographed wind-up tinplate toys. Founded by Ernest Lehmann Co. in Brandenberg, Germany, 1881. In 1951 the fim re-established and is still making friction toys. Some of the most famous include: Autobus, the Dancing Sailor and Icarus. Lehmann distinguished itself early 20th-century by releasing small tin toys which were cheaper than the toys the competition made. End of the 19th century, beginning of th 20th, competitors were producing heavy, cast-iron toys. By the 1920s the Lehmann company had a staff over 800 people and made 80+ different toy designs.How it is significant? (...this item is one of last remaining examples of German toy manufacturing prior to World War One. ) How it is significance to local history? (....this item represents the importance of preserving local history and culture.) German, clockwork, red and white tinplate cart with green and white driver with green pointed hat, being pulled by zebra with red ears and cord tail. 1881/ Lehmann 'Zikra' Marke Pat./USA Appl. / For Jan 1907, Dec 1913 lehmann, toy, beechworth, burke museum, zebra, cart, germany

Tait collection: item 20 of 62 This 1900 document gives details on the Will and Probate of William Bickle, described as a ‘Gentleman’, who died in April 1900. He left real estate to the value of £240 and personal estate to the value of £286. His wife Jane received the income from these assets during her lifetime and on her death the estate went to Bickle’s nephew and niece. The executors were John Warren, a painter of Jamieson Street, Warrnambool and Thomas Goodall, a law clerk of Warrnambool. No other details are available on William Bickle. Thomas Goodall was the manager of the law office of Ernest Chambers in Warrnambool. Chambers had offices in Port Fairy, Koroit and Warrnambool at the end of the 19th century and the beginning of the 20th century. This document is of interest because it contains information on the Will and Probate of William Bickle, a Warrnambool resident at the time of his death. The document was in the possession of the lawyer, Ernest Chambers and has been passed down to successive lawyers occupying the Kepler Street building. It was then passed on in 2014 to be part of the Warrnambool and District Historical Society collection.This is a 1900 piece of parchment paper folded in two with handwritten material on three sides. The seal of the Supreme Court of the Colony of Victoria is attached with a green ribbon and there are two stamps, one a red one of the Master in Equity of the Supreme Court, Melbourne and the other a blue one of the Savings Bank, Warrnambool. The handwriting is highly legible.william bickle, ernest chambers, tait collection, john warren

Tait collection: item 23 of 62 This paper contains details of the Will and Probate papers of John Joseph Flahavin who died in December 1902. He was a farmer at Kirkstall but no further details on him have been found. He left real estate to the value of £100 and personal estate to the value of £5 to his wife Margaret Flahavin. She died in the June of the following year before her husband’s will had been finalized. The lawyer in the case, Ernest Chambers, had legal offices in Warrnambool. Port Fairy and Koroit at the end of the 19th century and the beginning of the 20th century. This document in his possession passed to successive lawyers occupying the legal premises in Kepler Street and were located there in 2014 and passed on to the Warrnambool and District Historical Society. This document is of some interest as it concerns a Kirkstall resident in the early 1900s. It will be useful to researchers.This is a cream-coloured piece of parchment paper folded in two (1903). It has handwritten material on three sides of the paper. There is a seal of the Supreme Court of Victoria attached with a green ribbon and there are three purple stamps of the Master in Equity of the Supreme Court. The paper is somewhat stained and the writing is faded but legible. In the Supreme Court of Victoria; Probate Jurisdiction; In the Will of John Joseph Flahavin late of Kirkstall in the State of Victoria Farmer deceasedjohn flahavin, ernest chambers, warrnambool, kirkstall, tait collection

Tait collection: item 30 of 62 This document contains information on the Letters of Administration of Ann Doran of Port Fairy Road, Warrnambool. She died in December 1889 but, as she died intestate, the Letters of Administration were not processed until 1911. Ann Doran left no real estate but left personal estate to the value of £116. The sole beneficiary was her daughter, Jane Doran. The lawyer in the case was Ernest Chambers who had legal offices in Port Fairy, Warrnambool and Koroit at the end of the 19th century and the beginning of the 20th century. He had this document in his possession and it was passed down to successive lawyers occupying the legal premises in Kepler Street. It was located in this building in 2014 and passed on to the Warrnambool and District Historical Society at that time. This document is of some interest as it contains information on the Letters of Administration of Ann Doran who lived in Warrnambool at the time of her death in 1889. It will be of use to researchers. This is a cream-coloured piece of parchment paper folded in two with handwritten material on two sides. One page has ruled black lines. A seal of the Supreme Court of Victoria is attached with a green ribbon and there are four red stamps of the Master in Equity of the Supreme Court. One page is somewhat stained.In the Supreme Court of Victoria; In the Probate Jurisdiction; In the Estate of Ann Doran late of Port Fairy Road Warrnambool in the State of Victoria married woman deceased intestate. Letters of Administration.ann doran, ernest chambers, warrnambool

1. Kiewa Valley Consolidated School was established in 1953 combining Dederang North, Kergunyah, Gundowring, Kiewa, Gundowring Upper, Red Bluff, Charleroi and Gundowing North schools on a 10 acre site with 11 rooms at Kiewa. The bark was cut from the canoe tree, by aboriginal craftsmen, to produce a canoe for fishing in the rivers running through the Kiewa Valley either before or just after the 1800's. The tree trunk, located at Kiewa, would have been used at the beginning of European settlement in the Kiewa Valley or just before contact was made. 2. Pictorial record of the graves of early pioneers C Ibbotson, Mrs Elizabeth Eyre and John Eyre who died between 1858 – 1904, all located at Tawonga Homestead 1. The above schools are in the Kiewa Valley. The date and number of combined schools give insight into the change in population and families in the Kiewa Valley before and after 1953. The tree was found along the Kiewa River and indicates that Aborigines lived by the river and used tree bark to craft canoes to cross rivers and to fish in the deeper sections of the river. 2. Pictorial record of the early history of Kiewa Valley pioneers whose descendants have lived and worked in the Kiewa Valley for many years 1. Newspaper article of local school children visiting a canoe tree in Kiewa July 11, 1972. mounted on buff card 2. Black and white photo of pioneer graves at old Tawonga Homestead. Mounted on buff card 1. Handwritten in black ink above newspaper clipping ‘Canoe Tree Kiewa Valley Consolidated School. 11 July, 1972’ Handwritten in pencil at bottom of article ’10 Nov. ‘72’ 2. Handwritten in black ink above photo ‘Tawonga Homestead graves’ Handwritten below photo ‘T Ibbotson D. 1858, Elizabeth Eyre D. 1879, John Eyre D 1879, John Eyre D. 1904 tawonga homestead, canoe tree at kiewa, tawonga graves

Three historically significant buildings are here at 701 Main Road, opposite Dalton Street, Eltham. Jarrold Cottage or White Cloud was built about 1863 and remains one of the oldest buildings in Eltham. It was once used temporarily as Eltham’s first police station. The Jarrolds were a pioneer family of market gardeners and building tradesmen over six decades and from the early 1940s, with the Skippers and other prominent local figures involved in the construction and development of the Montsalvat Artists' Colony. Len Jarrold, a carpenter, worked at Montsalvat from the beginning and became foreman of works for the splendid 1938 Great Hall. The Skipper family, also involved with Montsalvat, were associated with Jarrold Cottage from 1944 when it was purchased by Lena Skipper. Digital copy of colour photographfred mitchell collection, 2007, eltham, jarrold cottage, main road

WW1 Australian soldier Holmes Famiiy memento. Estaires is a town and commune in the Department of the Nord, about 11 kilometres west of Armentieres. The Estaires Communal Cemetery and Extension is on the eastern outskirts of the town and on the east side of the road to Bailleul. Estaires town was occupied by French cavalry on the 15 October 1914, and passed at once into British hands. On the 10 April 1918 it was captured by the enemy, after an obstinate defence by the 50th (Northumbrian) Division; and it was finally retaken by British troops at the beginning of September 1918. The town was a Field Ambulance centre as early as November 1914, and later the 1st Australian Casualty Clearing Station was posted in it. (http://www.cwgc.org/find-a-cemetery/cemetery/26801/ESTAIRES%20COMMUNAL%20CEMETERY%20AND%20EXTENSION, accessed 11/07/2014)Australian soldier's WW1souvenirA black and white postcard with buildings along a river at Estaires in Northern France.estaires communal cemetery and extension, estaires, france, chatham-holmes family collection, 1st australian casualty clearing station, postcard

A tie pin is a neckwear controlling device, originally worn by wealthy English gentlemen to secure the folds of their cravats. They were first popularized at the beginning of the 19th century. Cravats were made of silk, satin, lace and lightly starched cambric, lawn and muslin, and stickpins were necessary accoutrements to keep these expensive fabrics in place and safe. Stickpins commonly used pearls, and other precious gemstones set in gold or other precious metals and were designed specifically for their owners. By the 1860s, wearing cravats had been embraced by the English upper middle classes with a consequently lower quality of materials and designs used in both the neckwear and in the stickpins used to keep it in place. By the 1870s Americans had embraced stickpins and designs were mass-produced. 3 men's metal lapel pins with coloured glass inserts 1 yellow 2 red jewellery, tie-pins, male neckwear, moorabbin, brighton, early settlers, pioneers, cheltenham

A tie pin is a neckwear-controlling device, originally worn by wealthy English gentlemen to secure the folds of their cravats. They were first popularized at the beginning of the 19th century. Cravats were made of silk, satin, lace and lightly starched cambric, lawn and muslin, and stickpins were necessary accoutrements to keep these expensive fabrics in place and safe. Stickpins commonly used pearls and other precious gemstones set in gold or other precious metals and were designed specifically for their owners. By the 1860s, wearing cravats had been embraced by the English upper middle classes with a consequently lower quality of materials and designs used in both the neckwear and in the stickpins used to keep it in place. By the 1870s Americans had embraced stickpins and designs were mass-producedThe family of Lorna Risstrom were early settlers in Moorabbin ShireA tie-stud and chain in a small, blue velvet covered, silk lined, hinged jewellery box with . The tie-stud has a red stone set in gold metalmoorabbin, bentleigh, cheltenham, early settlers, pioneers, market gardneners, jewellery, risstrom lorna, tie-pins, tie- studs, cravats, silk, lace,

At the beginning of the 1890s, the Kew businessman and Town Councillor, Henry Kellett, commissioned J.F.C. Farquhar to photograph scenes of Kew. These scenes included panoramas as well as pastoral scenes. The resulting set of twelve photographs was assembled in an album, Kew Where We Live, from which customers could select images for purchase.The preamble to the album describes that the photographs used the ‘argentic bromide’ process, now more commonly known as the gelatine silver process. This form of dry plate photography allowed for the negatives to be kept for weeks before processing, hence its value in landscape photography. The resulting images were considered to be finely grained and everlasting. Evidence of the success of Henry Kellett’s venture can be seen today, in that some of the photographs are held in national collections.It is believed that the Kew Historical Society’s copy of the Kellett album is unique and that the photographs in the book were the first copies taken from the original plates. It is the first and most important series of images produced about Kew. The individual images have proved essential in identifying buildings and places of heritage value in the district.A panoramic photograph of the junction of High Street and Cotham Road. The photographer centres the point-of-view on the Kew Post Office and adjacent Court House. These were designed in the Queen Anne style by the Public Works Department's architect J Harvey and completed in 1888. The complex is important because it demonstrates a departure from the contemporaneously favoured High Victorian Classical to the Queen Anne style in the design of civic buildings. The earlier Jubilee Fountain in front of the Post Office was erected by the Kew Borough Council to commemorate the Golden Jubilee of Queen Victoria in 1887. It was created to a design of the architects Reed, Henderson and Smart. The fountain was later relocated to the Alexandra Gardens to make way for the Kew War Memorial. The tram tracks in High Street were used by the horse tram, which ran from the Victoria Street Bridge to the Boroondara General Cemetery. The tram was replaced by an electrified service in 1915.The Post Officekew post office, kew illustrated, kew where we live, photographic books, henry kellett

At the beginning of the 1890s, the Kew businessman and Town Councillor, Henry Kellett, commissioned J.F.C. Farquhar to photograph scenes of Kew. These scenes included panoramas as well as pastoral scenes. The resulting set of twelve photographs was assembled in an album, Kew Where We Live, from which customers could select images for purchase.The preamble to the album describes that the photographs used the ‘argentic bromide’ process, now more commonly known as the gelatine silver process. This form of dry plate photography allowed for the negatives to be kept for weeks before processing, hence its value in landscape photography. The resulting images were considered to be finely grained and everlasting. Evidence of the success of Henry Kellett’s venture can be seen today, in that some of the photographs are held in national collections.It is believed that the Kew Historical Society’s copy of the Kellett album is unique and that the photographs in the book were the first copies taken from the original plates. It is the first and most important series of images produced about Kew. The individual images have proved essential in identifying buildings and places of heritage value in the district.In 1891, High Street was the centre of commercial activity in the Borough of Kew. It was unpaved and edged with deep bluestone gutters, which were designed to channel the significant flow of storm water down the hill to and beyond the Junction. On either side of the entrance to the shopping strip are two cast iron gas lamps that provided the only public street lighting before the Post Office was reached. Most shops, including the Nicholas Brothers’ Junction Store featured cast iron verandas. Further up the hill, Dougherty’s Greyhound Hotel was by this stage a local institution. Apart from the horse-drawn tram, the main form of personal and commercial transport in this period remained the horse, horse and cart, or buggy.The panoramic view predates the widening of High Street in the 20th century, and thus includes the original alignment of buildings on the south side. These included Henry Kellett’s shop.High Street, Kewkew illustrated, kew where we live, photographic books, henry kellett, high street - kew (vic)

At the beginning of the 1890s, the Kew businessman and Town Councillor, Henry Kellett, commissioned J.F.C. Farquhar to photograph scenes of Kew. These scenes included panoramas as well as pastoral scenes. The resulting set of twelve photographs was assembled in an album, Kew Where We Live, from which customers could select images for purchase.The preamble to the album describes that the photographs used the ‘argentic bromide’ process, now more commonly known as the gelatine silver process. This form of dry plate photography allowed for the negatives to be kept for weeks before processing, hence its value in landscape photography. The resulting images were considered to be finely grained and everlasting. Evidence of the success of Henry Kellett’s venture can be seen today, in that some of the photographs are held in national collections.It is believed that the Kew Historical Society’s copy of the Kellett album is unique and that the photographs in the book were the first copies taken from the original plates. It is the first and most important series of images produced about Kew. The individual images have proved essential in identifying buildings and places of heritage value in the district.Before true aerial photography became possible, photographers such as J.F.C. Farquhar were compelled to shoot their images from the highest vantage point. Here, it is presumed to be the roof of Xavier College, from which the panoramic view extends west towards the rise of Studley Park. The houses in the foreground face the southern end of Gellibrand Street. Wellington Street is at an angle to the camera with the Queen Street intersection on the near right. The wooden building behind the large horse paddock on the other side of Gellibrand Street is the Kew Recreation Hall, built 1888, demolished 1960. It was reputed to have one of the finest dancing floors in or around Melbourne. The Bowling Green at the rear of the Hall belonged to the Kew Bowling Club. Further west is the Kew Railway Station on Denmark Street, opened to the public in 1887. At this period, much of Studley Park was locked up in large landholdings, dominated by large mansions such as ‘Byram’. Bird's Eye View Looking Westkew illustrated, kew where we live, photographic books, henry kellett, denmark street, kew recreation hall, kew bowling club, wellington street

At the beginning of the 1890s, the Kew businessman and Town Councillor, Henry Kellett, commissioned J.F.C. Farquhar to photograph scenes of Kew. These scenes included panoramas as well as pastoral scenes. The resulting set of twelve photographs was assembled in an album, Kew Where We Live, from which customers could select images for purchase.The preamble to the album describes that the photographs used the ‘argentic bromide’ process, now more commonly known as the gelatine silver process. This form of dry plate photography allowed for the negatives to be kept for weeks before processing, hence its value in landscape photography. The resulting images were considered to be finely grained and everlasting. Evidence of the success of Henry Kellett’s venture can be seen today, in that some of the photographs are held in national collections.It is believed that the Kew Historical Society’s copy of the Kellett album is unique and that the photographs in the book were the first copies taken from the original plates. It is the first and most important series of images produced about Kew. The individual images have proved essential in identifying buildings and places of heritage value in the district.This panoramic view was probably taken from the roof of Xavier College. It invites the viewer to look down on the buildings and streets of Kew, and across to the distant horizon. Mansions and solid bourgeois villas dominate the view of Charles and Wellington Streets. The imposing spires of the Presbyterian and Methodist Churches, built in one of the highest areas of Kew, can be seen in the distance. In the foreground, the photographer includes three significant mansions: Molina, Roxeth and Elsinore. Molina, in the foreground, and the group of weatherboard buildings in its yard was used at this stage for the privately operated ‘Kew High School’ (founded 1872). Roxeth, the home of Herbert Henty can be identified by its distinctive four-sided tower. All three buildings are now part of Trinity Grammar. Other built structures observable in the photograph include Wilton (now the Kew RSL), designed by Guyon Purchas for Dr William Walsh in 1886, and the only known image of the Prospect Hill Hotel prior to the renovation of 1935. Bird's Eye View Looking Northkew illustrated, kew where we live, photographic books, henry kellett

At the beginning of the 1890s, the Kew businessman and Town Councillor, Henry Kellett, commissioned J.F.C. Farquhar to photograph scenes of Kew. These scenes included panoramas as well as pastoral scenes. The resulting set of twelve photographs was assembled in an album, Kew Where We Live, from which customers could select images for purchase.The preamble to the album describes that the photographs used the ‘argentic bromide’ process, now more commonly known as the gelatine silver process. This form of dry plate photography allowed for the negatives to be kept for weeks before processing, hence its value in landscape photography. The resulting images were considered to be finely grained and everlasting. Evidence of the success of Henry Kellett’s venture can be seen today, in that some of the photographs are held in national collections.It is believed that the Kew Historical Society’s copy of the Kellett album is unique and that the photographs in the book were the first copies taken from the original plates. It is the first and most important series of images produced about Kew. The individual images have proved essential in identifying buildings and places of heritage value in the district.In this view of Studley Park Road, looking northeast to the Junction, the photographer invites the viewer to participate in a point-of-view that emphasises the elevated, tranquil vantage point of the hill in contrast to the bustling commercial area in the distance. The view emphasises the exclusiveness of Studley Park, with its high fences behind which a number of significant Kew mansions were concealed. Contemporary advertisements for the sale of mansions in Studley Park Road often included fulsome descriptions of their elaborate formal gardens, as well as paddocks for grazing, stabling and dairies. None can be seen here. The use of high, protective wooden pickets to surround the newly planted avenue of elms on the south side of the road appears to be typical of the period. Similar examples can be seen in early photographs of Wellington and Princess Streets.The horse and carriage, selected as a central focus of the view, reinforces the residential, exclusive nature of this part of Kew in the early 1890s. Studley Park Roadkew illustrated, kew where we live, photographic books, henry kellett

At the beginning of the 1890s, the Kew businessman and Town Councillor, Henry Kellett, commissioned J.F.C. Farquhar to photograph scenes of Kew. These scenes included panoramas as well as pastoral scenes. The resulting set of twelve photographs was assembled in an album, Kew Where We Live, from which customers could select images for purchase.The preamble to the album describes that the photographs used the ‘argentic bromide’ process, now more commonly known as the gelatine silver process. This form of dry plate photography allowed for the negatives to be kept for weeks before processing, hence its value in landscape photography. The resulting images were considered to be finely grained and everlasting. Evidence of the success of Henry Kellett’s venture can be seen today, in that some of the photographs are held in national collections.It is believed that the Kew Historical Society’s copy of the Kellett album is unique and that the photographs in the book were the first copies taken from the original plates. It is the first and most important series of images produced about Kew. The individual images have proved essential in identifying buildings and places of heritage value in the district.This is the earliest known photograph of the exterior of Byram (later Tara Hall). It shows the original red brick fence, its asymmetrical gate and gateposts, with a large terra cotta gargoyle surmounting the higher of the two. 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.A View in Studley Park Roadkew illustrated, kew where we live, photographic books, henry kellett, byram, tara hall, goathlands

At the beginning of the 1890s, the Kew businessman and Town Councillor, Henry Kellett, commissioned J.F.C. Farquhar to photograph scenes of Kew. These scenes included panoramas as well as pastoral scenes. The resulting set of twelve photographs was assembled in an album, Kew Where We Live, from which customers could select images for purchase.The preamble to the album describes that the photographs used the ‘argentic bromide’ process, now more commonly known as the gelatine silver process. This form of dry plate photography allowed for the negatives to be kept for weeks before processing, hence its value in landscape photography. The resulting images were considered to be finely grained and everlasting. Evidence of the success of Henry Kellett’s venture can be seen today, in that some of the photographs are held in national collections.It is believed that the Kew Historical Society’s copy of the Kellett album is unique and that the photographs in the book were the first copies taken from the original plates. It is the first and most important series of images produced about Kew. The individual images have proved essential in identifying buildings and places of heritage value in the district.Completed in November 1890, the railway viaduct (now the Chandler Highway Bridge) linked Kew and Fairfield. The viaduct is significant as the most substantial extant engineering remnant of the Outer Circle Railway Line. Opened in March 1891, the viaduct crossed the Yarra River in a single span, atop three supporting brick pillars. Following the closure of the railway line in 1927, and the construction of the Chandler Highway in 1930, the bridge was used for vehicular traffic. In 1891 when this panoramic photograph was taken, the grounds of what was then the Kew Lunatic Asylum extended down to the River and eastward beyond the viaduct. The landscape surrounding the Asylum was planted with traditional exotic trees such as Oaks, Pines and Cedars, and landmark trees from northern Australia such as the Hoop Pine. Remnant indigenous trees such as the River Red Gum, Yellow Box and Lightwood were scattered around the site, including beside the Yarra River.Railway Bridge Over the Yarrakew illustrated, kew where we live, photographic books, henry kellett, railway viaduct - - kew (vic)

At the beginning of the 1890s, the Kew businessman and Town Councillor, Henry Kellett, commissioned J.F.C. Farquhar to photograph scenes of Kew. These scenes included panoramas as well as pastoral scenes. The resulting set of twelve photographs was assembled in an album, Kew Where We Live, from which customers could select images for purchase.The preamble to the album describes that the photographs used the ‘argentic bromide’ process, now more commonly known as the gelatine silver process. This form of dry plate photography allowed for the negatives to be kept for weeks before processing, hence its value in landscape photography. The resulting images were considered to be finely grained and everlasting. Evidence of the success of Henry Kellett’s venture can be seen today, in that some of the photographs are held in national collections.It is believed that the Kew Historical Society’s copy of the Kellett album is unique and that the photographs in the book were the first copies taken from the original plates. It is the first and most important series of images produced about Kew. The individual images have proved essential in identifying buildings and places of heritage value in the district.When the Kew Lunatic Asylum was opened in 1871, its extensive 340 acres of grounds were intended for farming, agriculture and recreation for the inmates. The point-of-view chosen by Farquhar for this panoramic photograph focuses on the ordered open fields, haystacks and remnant trees that extended from the foreground to the rear of the Asylum. The inmates are the absent players in this pastoral idyll. In 1891, The Argus reported on the Annual Asylum Picnic: “Wednesday saw the Kew picnic, the yearly festival of the mad folks and their keepers. Once a year the public subscribes for cakes and ale for all these mad folks, and their keepers, from superintendent to lowest wardsman, turn out, and use their best endeavours to make one day in the year sanely merry.” Regardless of such merriment, the Asylum’s development and ongoing status were frequently a source of disquiet to the residents of Kew, who regularly petitioned the State Government for its removal. Despite these views, the Asylum was to remain a functioning institution from 1871 to 1988. Kew Asylum & Groundskew illustrated, kew where we live, photographic books, henry kellett, kew lunatic asylum

At the beginning of the 1890s, the Kew businessman and Town Councillor, Henry Kellett, commissioned J.F.C. Farquhar to photograph scenes of Kew. These scenes included panoramas as well as pastoral scenes. The resulting set of twelve photographs was assembled in an album, Kew Where We Live, from which customers could select images for purchase.The preamble to the album describes that the photographs used the ‘argentic bromide’ process, now more commonly known as the gelatine silver process. This form of dry plate photography allowed for the negatives to be kept for weeks before processing, hence its value in landscape photography. The resulting images were considered to be finely grained and everlasting. Evidence of the success of Henry Kellett’s venture can be seen today, in that some of the photographs are held in national collections.It is believed that the Kew Historical Society’s copy of the Kellett album is unique and that the photographs in the book were the first copies taken from the original plates. It is the first and most important series of images produced about Kew. The individual images have proved essential in identifying buildings and places of heritage value in the district.In Farquhar’s close-up portrait of the rat catcher and his dog, the photographer excludes any extraneous data that otherwise might have provided a spatial or motivational context. The contemporary or the present day viewer is required to construct a narrative to explore or understand what is occurring. The title of the picture might incline a viewer to believe that what they see is an exercise in vermin control, and that the rat concerned might be an introduced black or brown rodent. A more likely scenario is that the rat catcher is focussed on catching ‘rakali’, a native water-rat once widely trapped for its fur. The trapping of rakali for use in the manufacture of fashionable clothing accelerated as introduced furs such as musquash became more expensive. It was not until 1938 that rakali were granted protected status.Ratting on the Yarrakew illustrated, kew where we live, photographic books, henry kellett, yarra river

At the beginning of the 1890s, the Kew businessman and Town Councillor, Henry Kellett, commissioned J.F.C. Farquhar to photograph scenes of Kew. These scenes included panoramas as well as pastoral scenes. The resulting set of twelve photographs was assembled in an album, Kew Where We Live, from which customers could select images for purchase.The preamble to the album describes that the photographs used the ‘argentic bromide’ process, now more commonly known as the gelatine silver process. This form of dry plate photography allowed for the negatives to be kept for weeks before processing, hence its value in landscape photography. The resulting images were considered to be finely grained and everlasting. Evidence of the success of Henry Kellett’s venture can be seen today, in that some of the photographs are held in national collections.It is believed that the Kew Historical Society’s copy of the Kellett album is unique and that the photographs in the book were the first copies taken from the original plates. It is the first and most important series of images produced about Kew. The individual images have proved essential in identifying buildings and places of heritage value in the district.Dight’s Falls in Studley Park is an artificial weir built on a natural rock bar across the Yarra. The weir was built in the 1840s to provide water to the ‘Ceres’ flour mill, one of the earliest industrial sites in Melbourne. The falls were later to be named after the owner of this mill. In 1888, William Guilfoyle, Director of the Melbourne Botanical Gardens had called for fresh water to be piped from above the weir to the Botanical Gardens, using a pumping station on the Kew side of the Falls, a holding reservoir in Walmer Street and a series of pipes from there to the Gardens. This system was opened in May 1891. Farquhar’s photograph of the man-made weir obscures the industrial activity on both sides of the Falls and focusses solely on the river and the surrounding natural vegetation. The photograph probably predates the disastrous flooding of the Yarra River in July 1891, the greatest to have occurred in the Colony since the foundation of Melbourne.Dight's Fallskew illustrated, kew where we live, photographic books, henry kellett, yarra river

At the beginning of the 1890s, the Kew businessman and Town Councillor, Henry Kellett, commissioned J.F.C. Farquhar to photograph scenes of Kew. These scenes included panoramas as well as pastoral scenes. The resulting set of twelve photographs was assembled in an album, Kew Where We Live, from which customers could select images for purchase.The preamble to the album describes that the photographs used the ‘argentic bromide’ process, now more commonly known as the gelatine silver process. This form of dry plate photography allowed for the negatives to be kept for weeks before processing, hence its value in landscape photography. The resulting images were considered to be finely grained and everlasting. Evidence of the success of Henry Kellett’s venture can be seen today, in that some of the photographs are held in national collections.It is believed that the Kew Historical Society’s copy of the Kellett album is unique and that the photographs in the book were the first copies taken from the original plates. It is the first and most important series of images produced about Kew. The individual images have proved essential in identifying buildings and places of heritage value in the district.Hyde Park is now a small recreation reserve bordered by Willsmere and Kilby Roads and White Avenue. In 1982, Hyde Park was cut off from the Yarra River by the construction of the Eastern Freeway. The building of the latter was to transform the natural landscape, including the Yarra, as well as Hyde Park. The construction of the Freeway makes it difficult to view the scene with the photographer’s eye. Today’s Hyde Park is located on land purchased in 1847 by John Cowell, and in 1851 Catherine Cowell, yet the scene selected by the photographer may well have been located on farmland owned by the Wills family. Farquhar’s point-of-view emphasises both the pastoral and recreational elements of the scene: the grazing cows, three boys, and in the distance two figures, seated on the bank with a parasol. By 1891, an environmental consequence of human activity, including farming, was deforestation, leading to the erosion of the south bank of the Yarra. In contrast, the land on the Alphington side of the river in 1891 included remnant bushland.The Yarra in Hyde Parkkew illustrated, kew where we live, photographic books, henry kellett, yarra river

At the beginning of the 1890s, the Kew businessman and Town Councillor, Henry Kellett, commissioned J.F.C. Farquhar to photograph scenes of Kew. These scenes included panoramas as well as pastoral scenes. The resulting set of twelve photographs was assembled in an album, Kew Where We Live, from which customers could select images for purchase.The preamble to the album describes that the photographs used the ‘argentic bromide’ process, now more commonly known as the gelatine silver process. This form of dry plate photography allowed for the negatives to be kept for weeks before processing, hence its value in landscape photography. The resulting images were considered to be finely grained and everlasting. Evidence of the success of Henry Kellett’s venture can be seen today, in that some of the photographs are held in national collections.It is believed that the Kew Historical Society’s copy of the Kellett album is unique and that the photographs in the book were the first copies taken from the original plates. It is the first and most important series of images produced about Kew. The individual images have proved essential in identifying buildings and places of heritage value in the district.A unique Illustrated book, comprising a series of twelve plates of panoramic and landscape photographs of Kew, commissioned from the Melbourne (and Kew) photographer JFC Farquhar, by the Kew stationer Henry Kellett. The book was published in 1891, so it is presumed that the photographs provided by Farquhar were taken in 1891 or in the previous year. Photographs from the cloth bound book were offered by Kellett for sale separately; hence a number are in public collections. The book is in very poor condition, the leaves having separated from the spine. The cover is suffering from red rot while the mounts of each book plate are dirty and frequently suffering from foxing. The actual silver albumen plates variably suffer from foxing and iridescence caused by the deterioration resulting from the photographic process. Each part of the book can be viewed in this record in sequential format.KEW WHERE WE LIVE / KEW ILLUSTRATED / THE ACCOMPANYING ILLUSTRATIONS ARE PHOTOGRAPHIC VIEWS OF KEW AND ITS SURROUNDINGS, EXECUTED BY THE "ARGENTIC BROMIDE PROCESS", WHICH ENSURES ABSOLUTE PERMANENCY OF THE PHOTOGRAPH. IN A FEW YEARS HENCE WHEN MOST OF THE OLD LANDMARKS WILL HAVE DISAPPEARED THESE VIEWS WILL BE A VALUABLE MEMENTO OF KEW AS IT WAS IN 1891. ANY OF THESE ILLUSTRATIONS GAN BE OBTAINED FROM MR. H. KELLETT, HIGH STREET, KEW, IN SINGLE COPIES, IN THE SAME SIZE AS THOSE HEREIN AT 2s PER COPY. THEY MAY ALSO BE OBTAINED IN THE FOLLOWING SIZES FOR FRAMING:- / ACTUAL SIZE OF PHOTOGRAPH 15 INCHES X 12 INCHES @ 8. 6d EACH / 22 INCHES X 16 INCHES @ 15s EACH / PRIVATE RESIDENCES AND ESTATES / SPECIAL ARRANGEMENTS CAN BE MADE FOR TAKING VIEWS OF PRIVATE RESIDENCES - INTERIOR AND EXTERIOR - AND FOR GROUPS, &C., IN ANY SIZE UP TO 40 INCHES BY 30 INCHES BY THE "ARGENTIC BROMIDE" PROCESS UPON APPLICATION TO / MR H. KELLETT / HIGH STREET, KEW.kew illustrated, kew where we live, photographic books, henry kellett, jfc farquhar - photographer

The Brenda and Bob Johnston Collection is comprised of 19th and 20th century pharmaceutical records, books, apothecary jars and pharmaceutical implements. The items in the collection were used and or available for sale by chemists who occupied 167 High Street, beginning with Francis Barnard. The most important items in the collection are two dispensary books, one from the 1880s and the other from the start of the 20th century. Both were owned and compiled by Francis and his son FGA Barnard. The collection was donated to the Kew Historical Society over a number of years. The most recent donation by Brenda Johnson includes approximately 50 bottles labelled with the names of a number of pharmacists who ran the dispensary. Of these 34 held pharmaceuticals, 8 food or drink, and 5 miscellaneous.The Brenda and Bob Johnson collection represents an important continuous historical record of pharmaceutical and commercial practice in Victoria in the 19th and 20th centuries. Many of the items warrant additional research. The Kew Historical Society is seeking a suitably qualified and interested researcher to audit, describe and evaluate the collection.A collection of approximately 50 bottles labelled with the names of a number of pharmacists who ran the dispensary started by Francis Barnard in High Street, Kew. Of these 34 held pharmaceuticals, 8 food or drink, and 5 miscellaneous.Various labelschemist supplies, pharmaceutical items, dispensary books, fga barnard, brenda johnson, francis barnard, 167 high street - kew (vic), apothecary jars, medicines & health

The donor, Bob Lennox believed that these were the work of his great-grandfather William Lennox and his builders. William and his son were plasterers and often used the shell motif which is seen on the pediment of the buildings. These two terraces were part of the retail development of five terraces along Canterbury Road which were constructed on land subdivided from the parcel of land originally owned by John Woodhead. The Alan Holt register of properties in 3127 gives a list of proprietors / residents at the beginning of each decade from 1890-1980. There are also earlier photos depicting these buildings in the collection. These buildings have been included in the City of Boroondara Heritage Overlay Union Road Commercial Precinct 2011, Surrey Hills.These buildings were amongst the first commercial buildings serving the area of Surrey Hills and followed the extension of the railway from Camberwell in 1883.A colour photo with rounded corners taken from slightly diagonally across Canterbury Road from 2 double-storey Victorian style buildings. Both have the decorative shell motif in the pediment.Back of photo in green pencil "CANTERBURY RD SURREY HILLS / EAST OF UNION RD"victorian style, allegro graphics, william lennox, 386-384 canterbury road, shops, victorian terraces, canterbury road, surrey hills, john woodhead, heritage overlay union road commercial precinct 2011, heritage overlays

Annual report of the Association for the Advancement of the Blind outlined activities and events over the year, including an increase of membership to 150, the unfortunate illness of Mr Holgate, that attendance at meetings has improved due to the possible transfer of them into the city, the Secretary is now paid for their work due to the amount required, a number of goods designed for the blind have been imported by the Association from England and are being sold, some of which (the embossed music) has formed the beginning of a small music braille library, instruction in light handicrafts in the homes of the blind is continuing and now includes a knitting machine, concerts are still being undertaken with the focus on publicity for the Association and covering performing fees rather than as a fundraiser, and there are plans to create a fund scheme for sick workers.1 volume of printed material with some illustrationsassociation for the advancement of the blind, annual reports

In a "LED HORSE" category, the horse is presented bridled and unsaddled. The handler leads the horse in clockwise direction on the circle. The horse is required to walk and trot and stand to be judged. The judge looks for correct conformation of the horse as well as ahorse that is neatly presented and in good condition. Straight movement, correctness and quality of paces and obedience of the horse are also taken into consideration. This trophy was sponsored by Manns of Wodonga. The Mann family operated a major business in Wodonga for 85 years, beginning with a produce store in February 1921. It expanded to become one of Australia’s largest regional shopping centres, with a Supermarket, Hardware Store, Steel Store, Plumbing and Industrial supplies store, at one stage employing well over 100 people. The Mann Family sold the business in 2006.This item has local significance as it records winners in equestrian events at the Wodonga Show. The award was also presented by a prominent citizen of Wodonga.A wooden shield with metal plaques engraved with names and year of competition winners for the Supreme Champion Led horse at the Wodonga Show.On gold toned banner at top: "Manns of Wodonga" On bottom plate: Supreme Champion/ Led Horse of / the Wodonga Show" On smaller shields: "1976/MISS M McINTYRE/ GREEN VALLEY/CALYPSO", "1977 /MISS M McINTYRE/BIRRAHLEE LONICERA" , "1978/J. VINGE/ HILLINVIEW/BLACK PANTHER" , "1979/MRS A. WILKINSON/SWEET SUE"equestrian events wodonga show, wodonga show, supreme champion led horse, mann wodonga

An article from the Sydney Legacy Bulletin on an address by Legatee Alfred (Kem.) Kemsley, a long serving Legatee on the 'Beginnings of Legacy'. A detailed first hand account of the early history of Legacy. Legatee Kemsley mentions a village in France in June 1918 which was the HQ of Australian Corps, with General Birdwood, General White and General Monash, and that Monash had a role in setting up Legacy. He mentions a picnic at a beach with widows and children in March 1925 as the start of work with them. Legatee Kemsley was president of Melbourne Legacy in 1932. The article was part of an album of past presidents and prominent legatees from 1965 to 1989. The folder included biographical details and obituaries, eulogies and death notices of prominent Legatees. The items have been catalogued separately.A record of the beginnings of Legacy from Legatee Kem Kemsley. The information was collected to record the lives of prominent legatees in a folder.Typed copy of 2 pages from the Sydney Legacy Bulletin about an address made by Legatee Kemsley on 12 May 1983 and published 7 July 1983.history, speech, kem kemsley, past presidents

Set of 12 flags collected by the donor, unused, manufactured during the late 1980s. 1 - Australian flag - see also item 790 for a used example 2 - Support Legacy 3 - March is Red Cross calling month. 4 - 100 years of trams - see also item 2608 5 - Victoria 150 6 - Architecture Week 7 - Energy Week - May 1987 8 - Spoleto festival - blue background 9 - Spoleto festival - purple background 10 - Women 150 art festival 11 - Girl Guides 12 - ESTO '88 Melbourne - ESTO is a world-wide cultural festival for expatriate Estonians which has taken place every four years since its beginning in 1972Demonstrates the type of flags that were made for use on Melbourne trams during the late 1980s.Set of 12 flags made for use on tramcars - unused - nylon woven fabric and printed on various coloured cloths. Sewn with a loop at the left hand end to enable a wooden dowell to be fitted and secured and flown on a W class tramcar.trams, flags, melbourne, tramways, legacy, festivals, 100 years of electric trams, 150th anniversary victoria

The family-owned Furphy company has been manufacturing agricultural equipment in Kyneton and then Shepparton in Victoria from the 1860s to the present day. In the late 1800s the company developed the Furphy Water Cart to help farmers transport water to and from and around their properties - especially in time of drought. At the beginning of World War One, the carts were used to distribute water amongst the thousands of soldiers completing their basic training at Broadmeadows. They were also used for the same purpose in the camps and battlefields overseas. As the soldiers gathered around the water carts they would often chat, share information and gossip amongst themselves. These practices resulted in the term Furphy evolving in to the Australian vernacular as meaning a statement or fact that isn’t quite true or a little bit dubious.Cylindrical tin water cart with small access lid on top, unpainted and mounted onto a two-wheel cartOn side of tank in black paint "CHURCHILL ISLAND" Embossed on end: Furphy water cart; makers Furphy & Sons, Shepparton and other inscriptions.farm machinery, water, furphy cart, horse drawn, furphy, churchill island, shepparton, kyneton