An item forming part of a collection of costumes, photographs and documents relating to the Weir family who lived in a mansion, originally named Illapa, at 84 Princess Street, Kew, from c.1917 to 1950. This historically significant collection includes items relating to both George Weir (1866-1937), his wife Edith Mary Weir (1867-1948) and their children. George Weir attained national prominence in the mining industry, becoming General Manager of the North Broken Hill Silver Mining Company in 1903 (later renamed North Broken Hill Mining Company 1905-12, and North Broken Hill Ltd 1912-1988), and subsequently President of the Mine Owners Association. He was to remain General Manager of North Broken Hill Ltd until his retirement in 1926.This garment is part of a collection of women’s clothing, owned and worn by Edith Mary Weir (nee Betteridge) - born in Clare, South Australia 1867, died Kew 1948 - and also by her daughter. The garments date from the 1880s to the 1930s. The collection includes day dresses, evening dresses, evening coats, capes, and undergarments. As the wife and daughter of a mine manager, the collection includes representative examples of clothing worn by upper middle class Australian women in domestic circumstances, and at social and civic events. A number of the costumes from the 1920s to the 1930s are of a particularly fine quality, being both rare, representative and intact examples of Australian fashion of the period. The garments in the Weir Collection were donated to the Kew Historical Society by a granddaughter of Edith Weir in 2017.Striped pink and beige silk bodice, joined at the front with twelve mother-of-pearl buttons and featuring extensive use of cream coloured lace, particularly at the cuffs of the wide sleeves. There is an inner sleeve of lace as well as an extended ruffle of lace extending from the cuff. The bodice has a floating panel at the front, which is bordered with lace. The lace extends in a wider panel to the round neck.edith mary weir (nee betteridge), illapa -- 84 princess street -- kew (vic.), women's clothing, weir collection, dresses, bodices, fashion -- 1890s

SHARP DOWNPOUR. ONE INCH IN 45 MINUTES. SOUTHERN SUBURBS DELUGED. TRAIN STOPPED AT SOUTH YARRA. One of the sudden downpours of rain which occasionally fall in Melbourne occurred yesterday afternoon, when nearly an inch of rain fell in the course of three quarters of an hour, and caused a flood for an hour or two in certain localities. During the early part of the day, the sky had been clouded over, but there was nothing to indicate a storm of such intensity as that which followed. At about half-past 1 o'clock residents of South Yarra, South Melbourne, Prahran, and St. Kilda noticed a few drops of rain. Still, it appeared unlikely that there would be anything exceptional, until with startling suddenness at about 10 minutes to 1 o'clock, one of the heaviest downpours within the memory of residents burst upon those suburbs. A strange feature of the storm was that it was practically confined to an area of about three miles square. The city was but little affected, though at a spot as close as the Observatory 86 points of rain were recorded in three-quarters of an hour. Thunder and lightning accompanied the downpour, which was cyclonic in character, the rain driving heavily from all points of the compass as the cyclone passed. It was in South Yarra and Prahran that the rain fell heaviest. Within a few minutes after it commenced, the low-lying portions of Toorak-road and practically the whole length of Chapel-street were under water. The depression at the intersection of Toorak-road and Darling-street speedily filled to the dimensions of a small lake. Several shops were inundated, while the water from the higher levels rushed down like a mountain torrent, and in several in-stances swept through the rear of houses and shops, carrying furniture in a floating mass against the further walls. In one case a footbridge was carried bodily away and dashed to pieces. Darling-street itself Great Davis-street, and other low-lying and flat thoroughfares in the vicinity became flooded from kerb to kerb, while on the other side of the railway-bridge the valley between Kensington-road and River-street became filled for some minutes to a depth of several feet. Meanwhile the waters from South Yarra hill, seeking a lower level, found it in the railway cutting, and the excavations from South Yarra station to Prahran on the one line, and to the Chapel-street bridge on the other, were converted into a couple of canals. At the platforms at South Yarra the water was two feet deep on the permanent way, and towards Hawksburn, at the sudden depression under Chapel-street bridge, it was at one time deep enough to cover a tall man's head. Into this swirling mass of water the 1:50 p.m. train from Oakleigh plunged on its way to Melbourne. The impact caused a mighty fountain of water to rise to a height of about 20 feet above the level of Chapel-street and send clouds of spray in all directions. Under the belief that a terrible explosion had occurred residents braved the rain and rushed to the spot, only to find that the train had been brought to a stand-still in the middle of what seemed to be a river. The water was so high that it had entered the fire-box from below, extinguishing the fires and cutting off the steam supply. In the meantime the officials at the South Yarra station had been preparing for emergencies. Inspectors were on duty at intervals along the line, and the moment the alarm was given an extra engine was backed carefully down and continued on to connect with the stranded train without losing its own power. There was a delay of about ten minutes in the service for an hour or two, but by 5 o'clock all the trains were running on time again, and the water had run off all but the spot beneath the Chapel-street bridge. Here the water remained about four feet deep until nightfall, and throughout the afternoon several hundreds of people including biograph operators and photographers, were gathered around watching each train pass through. Even with the water two feet lower, this was a work attended with considerable difficulty. Each train had to absolutely force its way through the weight of water, almost enveloped by the spray thrown up, and it was only just able to negotiate the "ford" by using every ounce of steam. ... The Argus, 26 January 1907, p19.The item forms part of the Laurie Bennett collection of thirty-six postcards and photographs of Kew and early Melbourne, donated to the Kew Historical Society in 1980. The postcards in the Bennett collection, like other images in the Society's holdings date from the 1890s to the present and comprehensively indicate points-of-view or scenes considered historically, aesthetically or socially significant in the period in which they were produced.Postcard depicting a flood at South Yarra Station in 1907. The title and photographer's name are identified on the front of the postcard. Donated by L. Bennett, 1980flood - south yarra, trains - melbourne, postcards, r mcgeehan - prahran

The capelet was owned by Bridget Fitzgerald (nee Shannon) who emigrated to Australia from Ireland and subsequently lived in the Victorian country town of Tilden. Bridget died in about 1906 and is buried in the Kyneton cemetery. The capelet was passed on by descent to her granddaughter.Well-provenanced evening cape, worn by Bridget Fitzgerald in the Central Victorian Goldfields district.A black satin shoulder capelet covered with fine silk tulle, embroidered with jet passementerie and black sequins. The capelet which when open is circular is joined at the front by eyelets and hooks. The second photo includes a photo of the donor, Mrs Joan Carr, with the cape at the time of its donation.bridget fitzgerald, bridget shannon, women's clothing, australian fashion - 1890s, capelets, capes

Elizabeth Morrison, was born in 1874 and died in 1963, aged 89 years. She was the schoolteacher at Warrigal until she married the donor's grandfather and moved to Melbourne to take up residence with him. Her husband Edward was a porter on the train from Melbourne to Adelaide. Together they had three children: two boys and a girl. The donor's father was the youngest who was born in 1911.  The eldest son, Kenneth Morrison, was a Monsignor in the Catholic Church, and an Air Force Chaplain during the Second World War, while the daughter was a spinster who owned a few haberdashery and children’s clothing stores. The donor's father had a newsagency in Bridge Road, Richmond. He and his wife lived in Carson Street, Kew for about 50 years and had four children, two of whom were to become lawyers, another a surgeon and the final child social worker/family therapist. The donor's father lived until he was 100 years of age.The Fashion & Design collection of the Kew Historical Society includes examples of women’s, men’s, children’s and infants’ clothing from the 18th, 19th and 20th centuries. Items in the collection were largely produced for, or purchased by women in Melbourne, and includes examples of outerwear, protective wear, nightwear, underwear and costume accessories.The costume, which may have been used as a mourning dress is comprised of a matching heavy black silk skirt and top. The styling of the short bodice is accentuated by pleating and by the use of spirals of Parisian jet (black glass beads) on the bodice and cuffs. Chiffon lace is attached to the cuffs and is of the period. The dress is made of silk damask with a woven design of joined lines and circles. The rigidity of the fitted bodice is achieved by the use of baleen and by a heavy striped cotton fabric. The wide skirt, in contrast, has a stiffened brown cotton lining. There is a small insertion on the inside of the bodice that may have been used for a watch. The dress is in excellent condition. elizabeth morrison, australian fashion - 1890s, women's clothing

The donor and family of this gown were long-term Brighton residents, and the gowns were held by them as family heirlooms prior to donation to Brighton Historical Society. Originally owned by Elizabeth Emma Adams and Cecilia Elizabeth Adams, it is believed that the dress was brought to Australia by either a half brother, James Smith Adams, or a younger sister, Sophia Charlotte Louisa Adams (later known as Mother Rose Columba Adams). Elizabeth and Cecilia were the daughters of James Smith Adams (a squire, 1780-1860) and Elizabeth Emma McTaggart (1793-1843) of Tower House, Woodchester in Gloucester, a property which Elizabeth later inherited. Originally a monastery, Tower House had been converted into a stately home after the Reformation. According to information originally provided by the donor, the skirt portion of this dress (along with the bodice T0004.3) was made for either Elizabeth or Cecilia to be worn at the young Queen Victoria’s first 'drawing room ball' following the end of court mourning in 1838 for her uncle William IV who died in 1837. In 1838 Cecilia would have been twelve years old and Elizabeth would have been ten years old. It is possible that this dress was worn by one of the girls to this event as it is of appropriate dimensions for a child of that age, although its design is very formal and adult. Elizabeth was born on 30 June 1828 at Tower House and died on 1 May 1909. She created a scandal when she eloped with her first husband, Thomas Charles Gardiner at the age of 18. The validity of the marriage was later formally investigate and, while it was confirmed as valid, a second church wedding was subsequently held. Thomas died in 1878. Elizabeth subsequently remarried Reverend R. E. Blackwell, but was widowed again by 1889. Cecilia was born on 17 December 1826 and died in 1902 a spinster recluse in England. At the inquest into Cecelia's death in 1904 it was revealed that she had clearly come from a family of means as her home was filled to the brim with highly valuable goods, many in boxes. She was buried in the family vault at Woodchester. Elizabeth and Cecilia's sister Sophia converted to Roman Catholicism in 1851 and became a nun, taking the religious name 'Rose Columba'. In 1883 Mother Rose Columba led a group of eight to Australia, answering a call for Dominican sisters to nurse the sick in Adelaide. Upon arrival, she founded St. Dominic's Priory and the Church of Perpetual Adoration in North Adelaide, using her inheritance to build the chapel. Elizabeth's second son, George Henry Somerset, who inherited the Adams family estate dropped the 'i' in Gardiner and added the maiden name of his grandmother. Therefore, the family name has now become Gardner McTaggart. These Adams family entries have been updated with information provided by Dr Herbert Gardner McTaggart, great-grandson of George Henry Somerset in April 2016. Mr McTaggart contacted the society after finding our entries online.A hand and machine sewn cream, pale blue, orange and gold embroidered satin formal dress, the bodice dates from circa 1890. This dress shares a skirt with T0004.3, which dates from circa 1840. The bodice features a high scoop neckline with gathers at the base of the scoop and directly below where the bodice finishes creating fullness over the bust. The bodice front encloses the bust with a right panel over the top of a left panel and securing with two hook and eye closures over the left shoulder. The panels are secured together with 15 hook and eye closures. The sleeves are set neatly on the true shoulder and are elongated full puffs to just above the elbow. The fullness is created by nine pleats from the top of the shoulder over the back of the shoulder. At the base of the sleeve the fullness is gathered just above the elbow. At the centre back of the bodice are four inward facing pleats running from the centre neck to the waist. The bodice is secured around the waist with a tape and four hook and eye closures. The bodice is boned around the sides and back of the torso with eight bones. This bodice is finished at the waist with a pleated cummerbund of the dress fabric that is designed to appear to be a sash with two decorative bows. One front left of centre and one back right of centre. The skirt secures at the waist with an opening to the left of centre at the back. The skirt gathers tightly at the centre back with a dart on either side. The skirt has a front central panel and the skirt falls to floor length. At the back, the skirt is also floor length. The back of the skirt may have been modified at some time and may have originally finished in a train. It would be more appropriate to the period of the bodice, and the believed use of the dress with a train.cecilia elizabeth adams, elizabeth emma adams, queen victoria, tower house, woodchester, james smith adams, elizabeth emma mctaggart, sophia charlotte louisa adams, 1890s fashion

This afternoon dress belonged to Clara Johnstone Miller (nee Bell, 1866-1910). Clara was the only daughter of Mr James Bell, a councillor of the Shire of Leigh (today a part of Golden Plains Shire) and owner of Woolbrook Homestead in Teesdale, near Geelong. In 1888, Clara married prominent businessman, racehorse owner, racing identity and pastoralist Septimus Miller (1854-1925). Septimus was the sixth of seven children born to Henry 'Money' Miller and Eliza Miller (nee Mattinson). 'Money' Miller was a well known financier and politician and reputedly one of Australia's wealthiest people in his time. In 1889, Clara and Septimus moved into the house 'Cantala' in Dandenong Road, Caulfield. They had one child, Gwendoline Stewart Miller, who died in 1902 at the age of thirteen of diabetes - a largely untreatable condition at the time (insulin would not be discovered until 1921). Clara died in 1910, aged only 44. Septimus subsequently married Helen (nee Henderson), with whom he had a son, Ronald (1915-1990). The Millers were buried in the Brighton General Cemetery in a large Gothic-style vault. Upon Clara's death, Septimus sent much of her clothing and Gwendoline's to her mother Mary Bell. Some of these items were passed down to two of Clara's nieces, Miss Mary Bell and Mrs Lois Lillies, who donated them to BHS around 1973.A salmon (pale orange pink) corded silk afternoon dress with orange beaded embellishments, consisting of a bodice (.1) and skirt (.2) from c.1890. The bodice features a high standing collar with triple pleated bone silk chiffon trim along the top line, under the chin. This same chiffon is also secured in two pieces gathered and secured under the collar and and at the waist adding volume over the bust line and partially obscuring the jacket closing. The chiffon is secured at the side into the main fabric of the bodice by the beaded embellishment. The pink seed beads are sewn in lines of five beads one after the other creating a diagonal design that tapers from the shoulder to the waist. The bodice is boned around the front and back and secured down the centre font by nineteen hook and eyes and additional cotton tapes. Further beading details the bottom centre front and base line of the bodice. The shoulders have been repaired with replacement fabric to match, from our records it appears that the repair work was performed in circa 1974 but no record exists of the original shoulder design and if the repair was an exact copy of the original. The repaired shoulders feature a small frill around the shoulder yoke and top of the arm. The sleeve is fitted and three quarter finishing just below the elbow. The base of the sleeve is also trimmed with the pink bead design and bone three pleat chiffon trim. The back of the bodice features shaped panels contouring the jacket neatly in at the waist and then splitting and splaying out over the fullness of the skirt. The skirt appears to have been floor or ankle length held at the waist by a wide waistband. The skirt openings have been altered from the original currently featuring two openings secured by press studs. The skirt is gathered to the waistband at front and back creating fullness. The lower part of the skirt features the same pink bead embellishment and additional beaded flowers and diagonal point edge detail.clara miller, woolbrook, septimus miller, henry 'money' miller, gwendoline miller, cantala, 1890s fashion, caulfield, brighton general cemetery

Four-piece wedding outfit comprising bodice, belt, skirt and separate train all made of cream figured wool. The bodice has a centre front ruched panel, stand collar and a fitted two-piece sleeve with full gathered head. It is trimmed with cream-coloured beading with pearl drops. The bodice has seven interior bones and is fastened with metal hooks and hand sewn eyelets which are concealed under the front panel. A separate pleated belt fastens centre back. Plain gored skirt with separate train that ties around the waist.wedding dress, 1890s fashion

non-fictionWodonga in the State of Victoria was in 1973 Australia's largest rural city and in the 1880s and 1890s was the Australian colonies' largest cattle selling centre. This history of Wodonga is illustrated with black and white photographic illustrations.history wodonga, wodonga victoria

Local government in much of Victoria including the Bacchus Marsh area began with the formation of 'local committees'. These local committees could make representations to a Central Road Board regarding plans for road construction. Road construction and maintenance were seen as the essential tasks of these early local government authorities. By 1856 the local committee in Bacchus Marsh was constituted as the Bacchus Marsh Road District. This entity continued until 1862 when the name changed to the Bacchus Marsh and Maddingley Road District. This new entity lasted until 1871 when the local government authority in accordance with new statewide legislation became known as the Shire of Bacchus Marsh. The title of this plan being a plan of 'a portion of the road district of Bacchus Marsh' suggests that the plan was produced sometime between 1856 and 1862. The main purpose of this map was to shown the irrigable land in the district and the sources from which water for irrigation could be drawn. Bacchus Marsh was an early irrigation district in Victoria. Irrigation trusts were formed in the 1880s and 1890s to manage irrigation districts. But this was the culmination of many years of earlier attempts to construct irrigation systems in the Bacchus Marsh area and create a system to manage irrigation more broadly. This map dating from around 1856-1862 is an important cartographic document which provides evidence of how the early planning for irrigation was developing in the Bacchus Marsh region.A single page paper map showing a plan of part of the road district of Bacchus Marsh. The map is pasted into a bound volume containing 76 maps or plans in total. High resolution digital image stored on BMDHS computer network. bacchus marsh victoria maps, bacchus marsh road district, local government, road districts, irrigation

Grassmere is a small hamlet about 12 kilometres from Warrnambool. It is a farming area. The Grassmere Gold Mining Company, presumably established by local people in Grassmere, was created in 1898 for the purpose of acquiring from Messrs James and Mewha a lease of a Cassilis gold mine (23 acres). £5000 was to be raised in shares of five shillings and one shilling each. The Manager of the Company was Horatio Dickson of Melbourne and the brokers were McMeekin and Co. of Melbourne and Warrnambool and Dickson and Osborne of Melbourne. This reef mine was one of several in Cassilis, Gippsland, 12 kilometres north west of Swifts Creek. The gold-bearing quartz reefs were discovered in 1885 and worked to 1914. It is not known whether the Grassmere Cassilis mine was a financial success but the mining operations were impeded by the hardness of the stone in the area. William Robinson was a farmer in the Grassmere district. This certificate is of considerable interest as one of only three items the Warrnambool and District Historical Society has that is connected with the establishment of the Grassmere Gold Mining Company. The gold mine establishment was one of the many minor events in the district in the 1890s. This is a small buff-coloured certificate detailing the shares of William Robinson in the Grassmere Gold Mining Company (1898). The certificate has green printing and black-ink handwriting. The bottom section (Form of Transfer) is not filled in. There is a stamp of the Grassmere Gold Mining Company with the words ‘No Liability’. There is a decorative pattern in green on the left margin with the address of the company and the name of the printer. ‘This is to certify that Wm. Robinson of Grassmere is a member of the above-named company and the proprietor of fifty (50) shares, numbering 12651/12700 therein, upon which the sum of one shilling has been paid up, subject to the Rules and Regulations of the Company. Dated this 15th day of September, 1898. W.J. Roland, Director, .H. (es) Dickson, Manager.’grassmere, grassmere gold mining company, william robinson, warrnambool

Remnant Staffordshire porcelain tea set consisting of milk jug, cup, saucers and plates from a tea set presented as a wedding present to Julia Berkery and Michael Taffe at Bungaree in 1893.Unmarked Staffordshire tea set typical of small wedding present for the working classes in the 1890s. This example although a remnant and damaged has a good provenance and remains in the family home with other family wedding presents.Gilder's mark on base of each piece.jug, floral decoration,, bungaree, cup saucer & plate, staffordshire, wedding gift, taffe, present, tea set

A collection of newsletters including news items, cartoons, stories, staff information, advertising and reports about staff activities at Falls Creek in the 1990s."Towie Times" is a collection of newsletters compiled for tow operators at Falls Creek in the 1990s. It contained articles including anecdotes, employee of the week, serious reports and staff information, cartoons and advertisements capturing life as a "towie" at Falls Creek.falls creek staff, falls creek social life, falls creek activities

This album contains photographs of many Warrnambool buildings and scenes, including Proudfoot Boatsheds, St. John’s Church, Christ Church, Shelly Beach, Hopkins Falls, Sherwood gardens and buildings, Ozone Coffee Palace, Kepler Street, Sandstone Quarries and the Titan Crane on the Breakwater. The photographs have been taken and put in album form by the photographer Joseph Jordan. The advertisements of the hotels on the inside covers place the publication of the album to the years1891-2. We have another album similar to this but there are six photographs in this album (VC000799) that are not in the other album. These extra photographs are of the original gardens and buildings of Sherwood.This is a most important album as the photographs are clear and show a good cross-section of Warrnambool in the early 1890s. Some of the photographs are not represented in other collections (eg Sherwood gardens) and so are of vital historical significance. The advertisements are also of great use to researchers.This album has a brown hard cover and contains three pages of local advertisements and sixteen pages of photographs and 32 photographs back to back. The pages have been bound but some pages have come loose. There is a fold-out section of a 180 degree panorama of Warrnambool taken from Liebig Street hill. The edges of these pages have been taped.Front Cover- Views of Warrnamboolwarrnambool, views of warrnambool, photos of warrnambool

The Boroondara General Cemetery is registered by Heritage Victoria. The Henty's were some of the earliest settlers in Victoria.From Heritage Victoria Statement of Significance Last updated on - December 15, 2005 What is significant? Boroondara Cemetery, established in 1858, is within an unusual triangular reserve bounded by High Street, Park Hill Road and Victoria Park, Kew. The caretaker's lodge and administrative office (1860 designed by Charles Vickers, additions, 1866-1899 by Albert Purchas) form a picturesque two-storey brick structure with a slate roof and clock tower. A rotunda or shelter (1890, Albert Purchas) is located in the centre of the cemetery: this has an octagonal hipped roof with fish scale slates and a decorative brick base with a tessellated floor and timber seating. The cemetery is surrounded by a 2.7 metre high ornamental red brick wall (1895-96, Albert Purchas) with some sections of vertical iron palisades between brick pillars. Albert Purchas was a prominent Melbourne architect who was the Secretary of the Melbourne General Cemetery from 1852 to 1907 and Chairman of the Boroondara Cemetery Board of Trustees from 1867 to 1909. He made a significant contribution to the design of the Boroondara Cemetery Boroondara Cemetery is an outstanding example of the Victorian Garden Cemetery movement in Victoria, retaining key elements of the style, despite overdevelopment which has obscured some of the paths and driveways. Elements of the style represented at Boroondara include an ornamental boundary fence, a system of curving paths which are kerbed and follow the site's natural contours, defined views, recreational facilities such as the rotunda, a landscaped park like setting, sectarian divisions for burials, impressive monuments, wrought and cast iron grave surrounds and exotic symbolic plantings. In the 1850s cemeteries were located on the periphery of populated areas because of concerns about diseases like cholera. They were designed to be attractive places for mourners and visitors to walk and contemplate. Typically cemeteries were arranged to keep religions separated and this tended to maintain links to places of origin, reflecting a migrant society. Other developments included cast iron entrance gates, built in 1889 to a design by Albert Purchas; a cemetery shelter or rotunda, built in 1890, which is a replica of one constructed in the Melbourne General Cemetery in the same year; an ornamental brick fence erected in 1896-99(?); the construction and operation of a terminus for a horse tram at the cemetery gates during 1887-1915; and the Springthorpe Memorial built between 1897 and 1907. A brick cremation wall and a memorial rose garden were constructed near the entrance in the mid- twentieth century(c.1955-57) and a mausoleum completed in 2001.The maintenance shed/depot close to High Street was constructed in 1987. The original entrance was altered in 2000 and the original cast iron gates moved to the eastern entrance of the Mausoleum. The Springthorpe Memorial (VHR 522) set at the entrance to the burial ground commemorates Annie Springthorpe, and was erected between 1897 and 1907 by her husband Dr John Springthorpe. It was the work of the sculptor Bertram Mackennal, architect Harold Desbrowe Annear, landscape designer and Director of the Melbourne Bortanic Gardens, W.R. Guilfoyle, with considerable input from Dr Springthorpe The memorial is in the form of a small temple in a primitive Doric style. It was designed by Harold Desbrowe Annear and includes Bertram Mackennal sculptures in Carrara marble. Twelve columns of deep green granite from Scotland support a Harcourt granite superstructure. The roof by Brooks Robinson is a coloured glass dome, which sits within the rectangular form and behind the pediments. The sculptural group raised on a dais, consists of the deceased woman lying on a sarcophagus with an attending angel and mourner. The figure of Grief crouches at the foot of the bier and an angel places a wreath over Annie's head, symbolising the triumph of immortal life over death. The body of the deceased was placed in a vault below. The bronze work is by Marriots of Melbourne. Professor Tucker of the University of Melbourne composed appropriate inscriptions in English and archaic Greek lettering.. The floor is a geometric mosaic and the glass dome roof is of Tiffany style lead lighting in hues of reds and pinks in a radiating pattern. The memorial originally stood in a landscape triangular garden of about one acre near the entrance to the cemetery. However, after Dr Springthorpe's death in 1933 it was found that transactions for the land had not been fully completed so most of it was regained by the cemetery. A sundial and seat remain. The building is almost completely intact. The only alteration has been the removal of a glass canopy over the statuary and missing chains between posts. The Argus (26 March 1933) considered the memorial to be the most beautiful work of its kind in Australia. No comparable buildings are known. The Syme Memorial (1908) is a memorial to David Syme, political economist and publisher of the Melbourne Age newspaper. The Egyptian memorial designed by architect Arthur Peck is one of the most finely designed and executed pieces of monumental design in Melbourne. It has a temple like form with each column having a different capital detail. These support a cornice that curves both inwards and outwards. The tomb also has balustradings set between granite piers which create porch spaces leading to the entrance ways. Two variegated Port Jackson Figs are planted at either end. The Cussen Memorial (VHR 2036) was constructed in 1912-13 by Sir Leo Cussen in memory of his young son Hubert. Sir Leo Finn Bernard Cussen (1859-1933), judge and member of the Victorian Supreme Court in 1906. was buried here. The family memorial is one of the larger and more impressive memorials in the cemetery and is an interesting example of the 1930s Gothic Revival style architecture. It takes the form of a small chapel with carvings, diamond shaped roof tiles and decorated ridge embellishing the exterior. By the 1890s, the Boroondara Cemetery was a popular destination for visitors and locals admiring the beauty of the grounds and the splendid monuments. The edge of suburban settlement had reached the cemetery in the previous decade. Its Victorian garden design with sweeping curved drives, hill top views and high maintenance made it attractive. In its Victorian Garden Cemetery design, Boroondara was following an international trend. The picturesque Romanticism of the Pere la Chaise garden cemetery established in Paris in 1804 provided a prototype for great metropolitan cemeteries such as Kensal Green (1883) and Highgate (1839) in London and the Glasgow Necropolis (1831). Boroondara Cemetery was important in establishing this trend in Australia. The cemetery's beauty peaked with the progressive completion of the spectacular Springthorpe Memorial between 1899 and 1907. From about the turn of the century, the trustees encroached on the original design, having repeatedly failed in attempts to gain more land. The wide plantations around road boundaries, grassy verges around clusters of graves in each denomination, and most of the landscaped surround to the Springthorpe memorial are now gone. Some of the original road and path space were resumed for burial purposes. The post war period saw an increased use of the Cemetery by newer migrant groups. The mid- to late- twentieth century monuments were often placed on the grassed edges of the various sections and encroached on the roadways as the cemetery had reached the potential foreseen by its design. These were well tended in comparison with Victorian monuments which have generally been left to fall into a state of neglect. The Boroondara Cemetery features many plants, mostly conifers and shrubs of funerary symbolism, which line the boundaries, road and pathways, and frame the cemetery monuments or are planted on graves. The major plantings include an impressive row of Bhutan Cypress (Cupressus torulosa), interplanted with Sweet Pittosporum (Pittosporum undulatum), and a few Pittosporum crassifolium, along the High Street and Parkhill Street, where the planting is dominated by Sweet Pittosporum. Planting within the cemetery includes rows and specimen trees of Bhutan Cypress and Italian Cypress (Cupressus sempervirens), including a row with alternate plantings of both species. The planting includes an unusual "squat" form of an Italian Cypress. More of these trees probably lined the cemetery roads and paths. Also dominating the cemetery landscape near the Rotunda is a stand of 3 Canary Island Pines (Pinus canariensis), a Bunya Bunya Pine (Araucaria bidwillii) and a Weeping Elm (Ulmus glabra 'Camperdownii') Amongst the planting are the following notable conifers: a towering Bunya Bunya Pine (Araucaria bidwillii), a Coast Redwood (Sequoia sempervirens), a rare Golden Funeral Cypress (Chamaecyparis funebris 'Aurea'), two large Funeral Cypress (Chamaecyparis funebris), and the only known Queensland Kauri (Agathis robusta) in a cemetery in Victoria. The Cemetery records, including historical plans of the cemetery from 1859, are held by the administration and their retention enhances the historical significance of the Cemetery. How is it significant? Boroondara Cemetery is of aesthetic, architectural, scientific (botanical) and historical significance to the State of Victoria. Why is it significant? The Boroondara Cemetery is of historical and aesthetic significance as an outstanding example of a Victorian garden cemetery. The Boroondara Cemetery is of historical significance as a record of Victorian life from the 1850s, and the early settlement of Kew. It is also significant for its ability to demonstrate, through the design and location of the cemetery, attitudes towards burial, health concerns and the importance placed on religion, at the time of its establishment. The Boroondara Cemetery is of architectural significance for the design of the gatehouse or sexton's lodge and cemetery office (built in stages from 1860 to 1899), the ornamental brick perimeter fence and elegant cemetery shelter to the design of prominent Melbourne architects, Charles Vickers (for the original 1860 cottage) and Albert Purchas, cemetery architect and secretary from 1864 to his death in 1907. The Boroondara Cemetery has considerable aesthetic significance which is principally derived from its tranquil, picturesque setting; its impressive memorials and monuments; its landmark features such as the prominent clocktower of the sexton's lodge and office, the mature exotic plantings, the decorative brick fence and the entrance gates; its defined views; and its curving paths. The Springthorpe Memorial (VHR 522), the Syme Memorial and the Cussen Memorial (VHR 2036), all contained within the Boroondara Cemetery, are of aesthetic and architectural significance for their creative and artistic achievement. The Boroondara Cemetery is of scientific (botanical) significance for its collection of rare mature exotic plantings. The Golden Funeral Cypress, (Chamaecyparis funebris 'Aurea') is the only known example in Victoria. The Boroondara Cemetery is of historical significance for the graves, monuments and epitaphs of a number of individuals whose activities have played a major part in Australia's history. They include the Henty family, artists Louis Buvelot and Charles Nuttall, businessmen John Halfey and publisher David Syme, artist and diarist Georgiana McCrae, actress Nellie Stewart and architect and designer of the Boroondara and Melbourne General Cemeteries, Albert Purchas.Digital imagescemetery, boroondara, kew, gatehouse, clock, tower, clocktower, heritage, memorial, henty, james henty

The man photographed is Captain Gerasimos Kallinikos who brought the first Greek ship to Western Australia, where the passengers disembarked and travelled to the Kalgoorlie goldfields in 1891. Gerasimos died during WW2 when as captain of the Greek steamship Meropi, the boat was torpedoed by U-566 and sank off Halifax in 1942. In the 1890s a number of Ithacan Greeks travelling to Australia disembarked at Fremantle, the first Australian port which ships docked at. Initially many of them went on to the goldfields in Kalgoorlie and later some settled in Western Australia while many moved across to the eastern states.A black and white copy of a portrait photograph of a well-dressed man, who has a neatly groomed beard and moustache. There is a message written in Greek on the back of the photograph.

177 p.non-fiction"Melbourne in the 1890s - women can't vote and unmarried mothers are social outcasts. Frances, a young journalist, believes in equal rights for women and their right to have children outside of wedlock. In 1905, pregnant and alone, she boards a steamship for London. Closely intertwined with the lives of Frances and her daughter Sally are the lives of Frances' best friend Ethel and her husband, author Charles Chomley ... As an adult in rural Wales, Frances' daughter Sally must learn to reconcile the past, her origins, and the loss of loves ones. Gardening becomes her passion. This intriguing double biography shows how women's lives are shaped by society's expectations and how social norms have changed. The book follows the lives of two strong women - Frances Fitzgerald Fawkner and Sara 'Sally' Rainforth"--Back cover.berwick (vic.), frances elmes, frances fitzgerald fawkner, sara 'sally' rainforth, charles chomley, ethel a'beckett, dr thomas elmes

A wedding dress, forming part of a collection of costumes, photographs and documents relating to the Weir family who lived in a mansion, originally named Illapa, at 84 Princess Street, Kew, from c.1917 to 1950. This historically significant collection includes items relating to both George Weir (1866-1937), his wife Edith Mary Weir (1867-1948) and their children. George Weir attained national prominence in the mining industry, becoming General Manager of the North Broken Hill Silver Mining Company in 1903 (later renamed North Broken Hill Mining Company 1905-12, and North Broken Hill Ltd 1912-1988), and subsequently President of the Mine Owners Association. He was to remain General Manager of North Broken Hill Ltd until his retirement in 1926.This garment is part of a collection of women’s clothing, owned and worn by Edith Mary Weir (nee Betteridge) - born in Clare, South Australia 1867, died Kew 1948 - and also by her daughter. The garments date from the 1880s to the 1930s. The collection includes day dresses, evening dresses, evening coats, capes, and undergarments. As the wife and daughter of a mine manager, the collection includes representative examples of clothing worn by upper middle class Australian women in domestic circumstances, and at social and civic events. A number of the costumes from the 1920s to the 1930s are of a particularly fine quality, being both rare, representative and intact examples of Australian fashion of the period. The garments in the Weir Collection were donated to the Kew Historical Society by a granddaughter of Edith Weir in 2017.Cream silk wedding dress consisting of a long sleeved pleated bodice and a very full skirt. The skirt has a deep exterior pocket. The interior of the bodice exhibits extensive use of baleen to provide structure. The outfit includes a marching pair of cream silk shoes.edith mary weir (nee betteridge), illapa -- 84 princess street -- kew (vic.), women's clothing, weir collection, dresses, fashion -- 1890s