The Kew Festival was initiated in 1974 by Cr Gerry Petrie. At each festival, members of the Society would display items, typically from the collection. Typically, exhibitions were themed. While they were mostly held at what was to become known as the Phyllis Hore Room of the Kew Library, some exhibitions were held in the Kew Civic Offices or Kew Civic Hall (from1987 Kew Library).Illustrations of buildings, people and early days in Kew attached to a display board, viewed by a members and visitors. The section Houses for Sale includes photos on the back of real estate plans in the collection, proving that they were held by the Society before 1976."Buildings / Houses for Sale / People / Early Days"kew historical society - exhibitions

An early photograph of a miner and his family standing outside their tent in the Australian bush.An early sepia photograph of a miner and his family standing outside their tent in the Australian bush. This postcard was produced by George Symons as a souvenir of Marysville.AUSTRALIAN/ yesteryear/ CARDS P7 CORRESPONDENCE ADDRESS IN THEIR SUNDAY BEST c. 1880 A miner's family dressed in their Sunday best/ outside their tent dwelling./ Despite the difficulties of tent life the woman/ has brought her touch to the camp and is still/ able to dress her family immaculately for their/ Sunday stroll down the track. Photographer Unknown A sepia tone facsimile of/ an early Australian photographmarysville, victoria, mining life, australia, george symons, postcard, souvenir

While telescopes and binoculars each have a long history, handheld optical telescopes were still widely used in the Nineteenth Century. The origins of this small optical telescope are unclear, apart from that it was used by a family in Kew in the 1880s.Brass, brown leather and glass telescope, anecdotally recorded as used by an early Kew family at sports days in the 1880sSeparate later label: "Early telescope owned by a Kew family & used on Sports Day in 1880s"sports - kew (vic), optical telescopes, hand-held telescopes

Black and white image of backyard of 321 Esplanade East. Looking West and showing a large building to the side and rear. This building was the premises of the Ideal Drum and Cask Company of 60 Lyons Street Port Melbourne. Taken early 1980sMarilyn Johnson provided the image and was the then owner of the property in the early 1980sbuilt environment - domestic, built environment - industrial, marilyn johnson, ideal drum and cask company

Black and white copy of an early print of the Isle of Wight Hotel from the jetty. It also shows the jetty shed.Cowes from the jetty. Copied from an early print of the Isle of Wight Hotel. Stamp saying "Melbourne Library"cowes, cowes jetty, cowes jetty shed, photographs, isle of wight hotel

Black and white "Murray Views" postcard - Eastward view from Railway Station Entrance along Maroondah Highway, Ringwood. Clocktower on Warrandyte Road corner. Circa early 1960s.1959 handwritten on front and back is incorrect - Early 1960s model cars in view.

Photographed from an early sketchBlack and white photographic postcard showing work in progress on building of entrance piers. On partially built pier workmen standing on decking, sand dunes and lake at back and Jemmys Point in background. Lakes Entrance VictoriaWork on the new entrance, from an early sketchdredging, occupation, waterways, public works

Bulgana School Early 1920's Children and possibly some adults standing outside weatherboard schoolBulgana School Early 1920's

Anzac Day Parade in Wangaratta early 1950'sBlack and white photograph of men in suits marching in formation along main street. Photograph is sticky taped to brown cardboardAnzac Day Wangaratta Early in the 1950's.anzac day, wangaratta, 1950's

Photo of Lansell's Big 180 Victoria Hill - early 1870's. In the background is New Chum Hill. In the right foreground is Ballerstedt's second Open cut. On the left edge of the opencut is a building with a chimney beside it and poppet legs and a chimney further behind the building. Behind the opencut are more chimneys, poppet legs and buildings. Two photocopies donated by A Richardson in Folder 124 (3556.1).Lansell's big 180 Victoria Hill early 1870sphoto, lansell's big 180 mine, new chum victoria, nth old chum, old chum, ballerstedt's 2nd opencut, a richardson

5 Coleridge Street early 1970s windstormblack and white gloss photograph fair condition unmounted5 Coleridge st. Early 70s. Windstorm. C184.

An early black and white photograph taken at the entrance to "The Hermitage" in Narbethong in Victoria.An early black and white photograph taken at the entrance to "The Hermitage" in Narbethong in Victoria. "The Hermitage" was built by photographer John William Lindt as a home and guesthouse in 1894. John Lindt had previously photographed the mountain scenery of the Black Spur and purchased 71 acres and subseqently built his home and guesthouse from where he continued his career. "The Hermitage had a garden designed by John Lindt's friend, Ferdinand von Mueller, who was at one stage the Director of the Melbourne Botanic Gardens. The garden featured New Guinea tree houses from which John Lindt made frequent panoramas of his property and the surrounding forest of towering mountain ash. Aged 81 Lindt died of heart failure during disastrous bushfires on 19 February 1926 at the Hermitage. He was survived by his wife Catherine who continued to run ‘The Hermitage’ guest house before she retired to the city.the hermitage, john william lindt, narbethong, victoria, black spur, ferdinand von mueller, melbourne botanic gardens, new guinea, catherine lindt

This refillable ink bottle was extensively in use in the early 1900's, firstly with the nib pen and then with the fountain pen. Both these pens required to be refreshed with ink as they had no long term self storage capacity. The requirement, before the 1970's, for all legal documents, wills and heath certificates etc. forms had to be signed with penned ink and not biro(1950's onward). This caveat was to prevent forgeries (signatures) from ocurring. Hand writing experts can clearly distinguish forgeries because by using nibs, the "natural" and distinctive hand inflections whilst forming the signiture cannot be replicated by forgers.This item is significant to the Kiewa Valley because it details that even in the rural sector,(Kiewa Valley) the legal requirements of the day had to be adhered to. This was even at a time when in the rural areas a "man's word and handshake" was his bond", especially between neighbours or others in a small rural region. This however was not the case for Government Departments , banks and the hospital. To highlight certain words or paragraphs due to their importance, the red ink application was not only highly visible but also less likely to be tampered withThis empty bottle is cylindrical with curved "shoulders" tapering to a neck the size of a 20c coin. It has a white screw on lid bearing the name SWAN triple filtered INK. There is a paper label on the side of the bottle.SWAN TRIPLE FILTERED INK. 'SWAN' INK PERMANENT BLUE BLACK MABIE TODD & CO (AUST) PTY LTD SYDNEY CONTENTS 1 1/2 FLUID OZS.dip pen ink, ink bottle, writing methods, nib.

Inspector’s reports. [Book 1] Typed loose reports 1913, 1914, 1915, 1916, 1928. Written in book: 1921-1928. To Box 1912-1919.1; Inspector’s reports. [Book 2] 1920, 1930. To Box 1920-29.1. Also photocopies for 1929-1968 These are original and official education department documents reporting on the courses, staff and amenities at CTS.2 volumes, 1914-1928, 1929-30. Hard cover 'minute' books. Earlier volume has loose pages of typed reports for 1914-20. All other entries handwritten.All book entries are handwritten. Early typed entries have covering letter "from Education Department, Melbourne"collingwood technical school, cts, reports, inspectors reports, education department melbourne, inspector of technical schools, nmit,

The photograph printed on this postcard comes from the collection of the Mitchell Library in Sydney. It is sepia in tone and depicts seven men standing and sitting around a mine shaft in the Beechworth region. The photograph has been dated to approximately 1872. This period in history post-dates the Victorian gold rushes which occurred 1852-1853 in Ballarat, Bendigo and Beechworth. During this period, in the 1870s, the surface alluvial gold had been discovered and removed from location. Therefore, in order to reach the deeper and less accessible alluvial gold, diggers began to dig shafts into the earth. These shafts sunk below the ground level by 20 to 30 feet and required timber structures around the entrance and winches to bring the paydirt to the top. The top of this wooden structure is visible behind the man standing in the upper right of the image. This type of mining was highly dangerous as mines often caved in which injured the minors and often resulted in death. Thus, following this period, in the early 1900s, miners opted instead for hydrolic slucing which cut away the earth without the devastating consequences of a mine cave in. This particular group of miners appear to have been unable to afford a horse (then worth around 50 pounds) which were generally used at mines like this to help pull buckets attached to ropes up and down the mine. Instead, this group brought the buckets up and down by windlass. The windlass was a wooden structure mounted over the mining shaft and fitted with a hand-cranked winch which enabled the bucket attached to the rope to be brought up and down.Gold was first discovered in Beechworth in Spring and Reid's Creek in the summer of 1852-1853. At its popularity, this region had approximately 8000 people on the gold fields searching for gold on the banks of these creeks. These periods did not require the use of heavy machinery or the digging of deep mining shafts like the one depicted in this image. Therefore, this image has important connotations for the technologies associated with mining during the approximated 1870s when gold was harder to access. This is a later period in gold history which does not fit into the "gold rush" period. Instead, it occurred after the surface gold had disappeared and therefore, is essential for researchers who are investigating the mining techniques and structures used to reach the alluvial gold which was located deeper under ground in the 1870s. This period predates the use of big heavy machinery used to mine in the 1900s which include dredges. Images such as this one can also impart essential information as to the wardrobe and fashion of men during this period. It also imparts knowledge about the landscape of Beechworth which is useful for people researching the environment and impact of gold mining in the north-east region of Victoria. In addition, since this image is a postcard reproduction of an early Australian image which may date to approximately 1990 it can impart knowledge as to the interests of people during this time period when there may have been an increase into Australian history.A sepia tone facsimile of an early Australian photograph (circa 1872) printed as a postcard.Obverse: BEECHWORTH / Victoria, Australia / Reverse: GM 2 3275 / CORRESPONDENCE / AUSTRALIAN / YESTERYEAR / CARDS / ADDRESS / Published by George Symons (057) 65 3240 / THE MINEHEAD C. 1872 / The easily gleaned gold of the early fields did / not last very long. In order to reach less / accessible alluvial gold diggers began sinking shafts as much as twenty to thirty feet down / and the mines required timbering and winches / to bring the paydirt to the top. / This syndicate has been unable to afford the / luxury of a horse (about 50 pounds) and so everything / must go up and down by windlass and rawhide / bucket. / Photo: Mitchell Library, Sydney / A sepia tone facsimile of / an early Australian photographmining album, gold mine, beechworth, burke museum, mine shaft, postcard, australian yesteryear cards, george symons, the minehead, gold fields, alluvial gold, early australia, c.1872, 1872, gold diggers, north east victoria

Newspaper article glued to backing board: HERITAGE WEEK - HISTORICAL PHOTO COLLECTION The launch Heritage Week (April 8-15 [1984]), the Kew Historical Society has arranged the display of large colour photographs (the Koelmeyer-Edmonds Collection) of early suburban Melbourne Street scenes. This important collection may be viewed during Heritage Week at the City of Kew Library, Charles Street, Kew. Laurie Koelmeyer, a collector old and rare photographs, commissioned Jenny Edmonds, a noted local artist, to paint scenes such as Kew Junction, Auburn Village and the Hawthorn Railway Station in historical detail from old photographs. The paintings were then colour photographed for the heritage Week display. Kew residents will see twenty photos in all at the Kew Library. We should feel honoured that our suburb has been chosen for this display. The Koelmayer-Edmonds team was invited to launch the public exhibition in Kew at the instigation of the Historical Society and its President, Rae Brunette, who are to be congratulated for their efforts in arranging this special collection. The State Bank has indicated its support for the photographic display. Later it is proposed that the completed paintings will be exhibited at the Head Office of the Bank to coincide with Victoria’s 150th Anniversary celebrations. The display at the Kew Library is a significant honour for our City and is one which you should not miss. The Kew Historical Society can be contacted on ’80 3657.”Framed oil painting on board of the 'Commercial Heart of Kew', copied and painted from an early postcard published 1905.Labels on reverse: "THE COMMERCIAL HEART OF KEW / COPIED AND PAINTED FROM AN EARLY POST CARD PUBLISHED 1905 / RESEARCHED AND DONATED BY MR LAWRIE KOELMEYER APRIL 1982 TO KEW HISTORICAL SOCIETY." "SMALLER COPY OF THE KEW HISTORICAL PHOT0 DISPLAYED IN THE KEW LIBRARY."jenny edmonds, cotham road -- kew (vic.), lawrie koelmeyer

One of a collection of photographs and drawings donated by Mr J. W. Gliddon and used in his book "Phillip Island in Picture and Story"An early drawing of the McHaffie homestead, possibly by J. B. Henderson during the 1860's. Although unfinished it is probably an accurate portrayal."An early sketch of the McHaffie homestead" "Incomplete parts shown in pencil. Probably the most truthful record extant. J. W. G." "John David McHaffie."mchaffie homestead, phillip island, mr. j. w. gliddon

Postcard - silver finish known as "Collotype" - view of looking east along Collins St from near the intersection of Market St. Has a number of cable cars in the view, the first one having the destination of Spencer St. Has a number of horse drawn vehicles, parked or tethered on the wrong side of the road. Card titled "Collins St Melbourne looking East" Postcard has a divided back with space for stamp, address and correspondence. In the top centre is a start with an "O" in the centre. .1 - reproduction black and white photograph, collected by Keith Kings3392.1 - has "20c" in pencil in the top left hand corner and a TMSV Sales stamp on the rear.trams, tramways, cable trams, market st, collins st, buildings, horse drawn vehicle

Donated by B. C. GraydenPhotograph of 6 to 7 cars parked at The Nobbies. Two figures of a man and woman in background.On Back: Cars at The Nobbies early thirties.the nobbies, phillip island, b c grayden

A5 sized hardcover book. Mustard colour fabric like cover with gold markings. Also a mustard coloured sleeve Copy of book from early works to 1800British Library Cataloguing in Publication Data. Butler, Charles The Feminine Monarchie 1. Bee Culture - Great Britain- Early works to 1800

Black and white photograph, mounted on cardboard, of a horse and cart with the family of the "Stewarts". Photo taken in the early 1920s outside Roger's General Cash Store, Great Northern Township"Early 1920s at Great Northern Township, via Rutherglen. L to R Fanny Stewart, Hector Stewart, Rae Stewart, Myra Stewart."stewart family, fanny stewart, hector stewart, rae stewart, myra stewart, rogers store, general cash store, great northern township

An early steel engraving print of Marysville in Victoria.An early steel engraving print of Marysville in Victoria by Nicholas Chevalier. Nicholas Chevalier, born in 1828, was a Russian-born artist who worked in Australia and New Zealand. In 1851 Chevalier moved to London and worked as an illustrator in lithography and watercolour. After further studies in painting in Rome he arrived in Australia in December 1854. In August 1855 he obtained work as a cartoonist on the newly established Melbourne Punch. Later he did illustrative work for the Illustrated Australian News and also worked in chromolithography. He accompanied explorer/meteorologist Georg von Neumayer on trips to remote areas of Victoria, and the material gathered on such journeys resulted in some of his most recognised pieces of this period, including his painting of Mount Arapiles in Western Victoria. In 1864, when the National Gallery of Victoria was founded, an exhibition of works by Victorian artists was held. The government agreed to buy the best picture exhibited for £200. Chevalier's oil painting The Buffalo Ranges was selected, and was the first picture painted in Australia to be included in the Melbourne collection. In 1865 Chevalier visited New Zealand, travelling widely and doing much work there which was exhibited at Melbourne on his return. In 1869 he joined HMS Galatea as an artist with the Duke of Edinburgh, on the voyage to the East and back to London with stops in Tahiti, Hawaii, Japan, China, Ceylon (Sri Lanka) and India. The pictures painted during the voyage were exhibited at South Kensington. In January 1874 Chevalier was commissioned by Queen Victoria to travel to St Petersburg and paint a picture of the marriage of the Duke of Edinburgh. Chevalier made London his base and was a continual exhibitor at the Academy from 1871 to 1887. He had one picture in the 1895 Academy but had practically given up painting by then. Chevalier died in London on 15 March 1902. N. Chevalier 1870 N. Chevalier/ W. Forrest MARYSVILLE, VICTORIA. LONDON, VIRTUE & CO.marysville, victoria, n. chevalier, w. forrest, steel engraving, print, mount arapiles, georg von neumayer, the buffalo ranges, national gallery of victoria, hms galatea

An early steel engraving print of Marysville in Victoria.An early steel engraving print of Marysville in Victoria by Nicholas Chevalier. Nicholas Chevalier, born in 1828, was a Russian-born artist who worked in Australia and New Zealand. In 1851 Chevalier moved to London and worked as an illustrator in lithography and watercolour. After further studies in painting in Rome he arrived in Australia in December 1854. In August 1855 he obtained work as a cartoonist on the newly established Melbourne Punch. Later he did illustrative work for the Illustrated Australian News and also worked in chromolithography. He accompanied explorer/meteorologist Georg von Neumayer on trips to remote areas of Victoria, and the material gathered on such journeys resulted in some of his most recognised pieces of this period, including his painting of Mount Arapiles in Western Victoria. In 1864, when the National Gallery of Victoria was founded, an exhibition of works by Victorian artists was held. The government agreed to buy the best picture exhibited for £200. Chevalier's oil painting The Buffalo Ranges was selected, and was the first picture painted in Australia to be included in the Melbourne collection. In 1865 Chevalier visited New Zealand, travelling widely and doing much work there which was exhibited at Melbourne on his return. In 1869 he joined HMS Galatea as an artist with the Duke of Edinburgh, on the voyage to the East and back to London with stops in Tahiti, Hawaii, Japan, China, Ceylon (Sri Lanka) and India. The pictures painted during the voyage were exhibited at South Kensington. In January 1874 Chevalier was commissioned by Queen Victoria to travel to St Petersburg and paint a picture of the marriage of the Duke of Edinburgh. Chevalier made London his base and was a continual exhibitor at the Academy from 1871 to 1887. He had one picture in the 1895 Academy but had practically given up painting by then. Chevalier died in London on 15 March 1902. N. Chevalier 1870 N. Chevalier/ W. Forrest MARYSVILLE, VICTORIA. LONDON, VIRTUE & CO.marysville, victoria, n. chevalier, w. forrest, steel engraving, print, mount arapiles, georg von neumayer, the buffalo ranges, national gallery of victoria, hms galatea

A copy of an early pencil sketch of Fernshaw in Victoria.A copy of an early pencil sketch of Fernshaw in Victoria by Louis Buvelot. Louis Buvelot ( 1814–1888), born Abram-Louis Buvelot, was a Swiss landscape painter who lived 17 years in Brazil and following 5 years back in Switzerland stayed 23 years in Australia, where he influenced the Heidelberg School of painters. Arriving in Melbourne in February 1865, after leaving the cold of Switzerland, which was impacting on his health, for the warmth of Australia, Buvelot was in business as a photographer in Bourke Street for a year but soon resumed his painting. He lived in Melbourne for a number of years before moving to Fitzroy. The National Gallery of Victoria purchased two of his paintings and he continued painting until his death in 1888. He was buried at the Boroondara Cemetery, where a large monument was erected in his memory. Fernshaw was a rural township 63 km northeast of Melbourne and 10 km northeast of Healesville. Situated on the Watts River, near where a log had fallen making a convenient crossing, Fernshaw was settled in the 1860s. It provided good country for orchards and berry growing. The location was at the foot of Blacks Spur, with Mounts Juliet and Mondah rising on either side, providing spectacular scenery. There were nearby fern gullies giving rise to the name – ‘shaw’ is old English for thicket or wood. By 1875 Fernshaw had a post office (1865), two hotels, a school (1871), and stores. It was famed for its beauty, attracting tourists. In 1886 the Melbourne and Metropolitan Board of Works began work on the Watts River water catchment scheme – later to become Maroondah – and the Board obtained approval for the catchment country to be reserved and kept free of settlement. This required the removal of the Fernshaw township, which was completed by about 1890.Fernshaw 17.2.83louis buvelot, fernshaw, victoria, national gallery of victoria, switzerland, boroondara cemetery, kew cemetery, artist

A copy of an early oil painting of Fernshaw in Victoria.A copy of an early oil painting of Fernshaw in Victoria by Isaac Whitehead. Isaac Whitehead (1819–1881) was an Irish-Australian artist who worked in watercolour and pastel. He was also a picture framer and art promoter. It is believed that Isaaz Whitehead emigrated to Australia with his family in either 1853 or 1858. Isaac Whitehead died at his home 50 Punt Road, Prahran, Melbourne, on 21 April 1881. Isaac Whitehead had established himself as the foremost picture framer in Melbourne by 1860, known for his highly ornate frames with floral decorations. Among the clients of his framing business were Louis Buvelot, Nicholas Chevalier, and Eugene von Guérard. In his own paintings, he painted a number of scenes of the forests of Gippsland, Victoria. His work focused on the rich landscapes with trees and ferns, with a high degree of botanical detail. His work won him two medals and his work was posthumously exhibited at 1884 Victorian Jubilee Exhibition, the 1886 London Colonial and Indian Exhibition, and the 1888 Melbourne Centennial Intercolonial Exhibition. Fernshaw was a rural township 63 km northeast of Melbourne and 10 km northeast of Healesville. Situated on the Watts River, near where a log had fallen making a convenient crossing, Fernshaw was settled in the 1860s. It provided good country for orchards and berry growing. The location was at the foot of Blacks Spur, with Mounts Juliet and Mondah rising on either side, providing spectacular scenery. There were nearby fern gullies giving rise to the name – ‘shaw’ is old English for thicket or wood. By 1875 Fernshaw had a post office (1865), two hotels, a school (1871), and stores. It was famed for its beauty, attracting tourists. In 1886 the Melbourne and Metropolitan Board of Works began work on the Watts River water catchment scheme – later to become Maroondah – and the Board obtained approval for the catchment country to be reserved and kept free of settlement. This required the removal of the Fernshaw township, which was completed by about 1890.isaac whitehead, fernshaw, victoria, louis buvelot, nicholas chevalier, eugene von guerard, gippsland, victorian jubilee exhibition, london colonial and indian exhibition, melbourne centennial intercolonial exhibition, watts river, healesville, blacks spur, mount juliet, mount mondah

Various views of Greensborough & district in the early 1900's.Records the houses, roads and bridge in Greensborough.2 copies of early Greensborough district photographs.Nilgreensborough, bluestone bridge, main street, aqueduct bridge, plenty river

One of the earlier nylon stocking from the WW2 era. Many believed they would melt off the legs if you stood too close to the fire.One of the earlier nylon stockingscostume, female footwear