The cape is of a style from the Victorian or the Edwardian Era and so provides a good example of women's clothing from that time. The light colour, silk material and lace suggest a cape used for special occasions with the possibility of initially being a wedding cape.The item is of significance historically and socially as an example of women's clothing in the Victorian and Edwardian eras.Ladies cape consisting of two circular tiers and a collar. The inner tier is knee length with a thin lace insert around the hem. The outer tier is elbow length with a wide lace edge and the thin lace insert inside this. The collar has lace edging and a lace insert of the same width. The lace used is of a repeat flower pattern most likely made of a combination of silk and cotton. The cape material appears to be a cream ribbed silk with the lining being of a polished cotton or silk variety. Both materials have a silken sheen in the right light. A silk ribbon ties the cape at the neck. The lining and lace have been sewn with fine hand stitching.flagstaff hill, warrnambool, maritime village, maritime museum, flagstaff hill maritime museum and village, shipwreck coast, great ocean road, ladies cape, double cape, silk cape, layered cape, cape with lace collar, decorative lace edging, victorian era, edwardian era

This bodice is stiffened by what is commonly referred to as natural whalebone, but is actually baleen, which was in use from the 18th century through to the Edwardian era. It was hand sewn in Warrnambool in the 1900's.The bodice is significant for demonstrating the use of historical whalebone, or technically baleen, for its stays. This practice was used from the 18th century through to the Edwardian era.The bodice is made of gold cotton over the whalebone stays at the waistline. It is trimmed in brown fabric and has twenty-two buttons down the front from top to bottom. The sleeves are Leg-o'-mutton style. The bodice has pin tucks down the front. It was hand sewn in Warrnambool in 1900's.flagstaff hill, warrnambool, bodice, ladies clothes, whalebone stays, baleen stays, women's clothing, corsetry, corset boning, female adult, hand sewn

Historically the bodice is representative of a style from the early 1900s.As a hand sewn item it is significant to demonstrate the craftsmanship and textiles used in that time period.Deep pink bodice with velvet and lace at collar. Velvet ribbon and lace border on bodice edge next to sleeves, the edging goes from the front of the bodice and over to the back. Seven white mother-of-pearl buttons down the front and pintucks across the top back of the bodice. The sleeve cuffs have a lace border and are closed using hooks and eyes. The bodice is lined, with the lining visibly stitched to the back of the bodice at waist level. The bottom of the bodice is designed as a peplum.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, bodice, ladies bodice, hand sewn, edwardian

Before the invention of woven baskets, people used tree bark to make simple containers. These containers could be used to transport gathered food and other items but crumbled after only a few uses. Weaving strips of bark or other plant material to support the bark containers would be the next step, followed by entirely woven baskets. The last innovation appears to be baskets so tightly woven that they could hold water. Depending on soil conditions, baskets may or may not be preserved in the archaeological record. Sites in the Middle East show that weaving techniques were used to make mats and possibly also baskets, circa 8000 BCE. Twined baskets date back to 7000 in Oasisamerica. Baskets made with interwoven techniques were common at 3000 BCE. Baskets were originally designed as multi-purpose vessels to carry and store materials and to keep stray items about the home. The plant life available in a region affects the choice of material, which in turn influences the weaving technique. Rattan and other members of the Arecaceae or palm tree family, the thin grasses of temperate regions, and broad-leaved tropical bromeliads each require a different method of twisting and braiding to be made into a basket. The practice of basket making has evolved into an art. Artistic freedom allows basket makers with a wide choice of colours, materials, sizes, patterns, and details.Before the advent of plastics (1907), the is now used for many different types and styles of storage container rattan, wicker or cane was used to make containers with a lid for the storage of linens etc. The subject item was probability used at the end of the Victorian era and into the Edwardian period around the 1900s as a household storage facility. These types of wicker or cane containers started to go out of fashion due to their fragility around the 1920s into the 1940s due as well to the introduction of synthetic materials. Wicker cane rectangular shaped domestic storage container with reinforced leather pads on 4 corner sides. lid fits inside the other. Black cane piece around top edge.Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

What House is That? A Guide to Victoria's Housing Styles. Housing styles, colours, architecture. Photographs & illustrations. 27 pages. Green sft coverhouses, housing styles, colours, architecture. early victorian, mid victorian, late victorian boom style, queen anne, edwardian, californian bungalow, early modern, modern

Document on foolscap paper some notes on Dudley House Bendigo Victoria, Australia courtesy of Mr Geoffrey, C. Ingleton father was the former Town Clerk of Bendigo, appointed 1 January 1924. The layout of the building at ground floor level involved the removal of walls along the left side from the entrance creating one large room. Alterations required replacement of doors, 1920's style , with decorative glass panels and door knobs of the period. This report contains excellent descriptions of furniture installed at the house, including a grandfather clock, framed etchings, easy chairs with loose floral covers, and a number of 'occasional chairs' of Rose-wood or Cedar in Edwardian design. The furniture was purchased from Morley Johnson of Bendigo and Sydney. There were also china cabinets, a gramophone in a large upright rose-wood cabriole-shaped cabinet. The name Dudley house may have been earned by reputation, or had a connection to a former tenant - perhaps a State Official or a caretaker.bendigo, history, dudley house

The Kew Historical Society's map collection includes a substantial number of real estate subdivision plans, mainly of Kew but also of surrounding suburbs in Melbourne. Most of the subdivision plans date from the 1920s and 1930s when the districts old homes and local farmland were being split up to accommodate residential growth in the postwar period. These early plans were assembled by a local firm, Jas R Mather & McMillan, which had an office in Cotham Road. Many of the plans, and sometimes photos, were annotated by the agents.Subdivision plans are historically important documents used as evidence for the growth of suburbs in Australia. They frequently provide information about when the land was sold as well as evidence relating to surveyors and real estate and financial agents. The numerous subdivision plans in the Kew Historical Society's collection represent working documents, ranging from the initial sketches made in planning a subdivision to printed plans on which auctioneers or agents listed the prices for which individual lots were sold. In a number of cases, the reverse of a subdivision plan in the collection includes a photograph of a house that was also for sale by the agent. These photographs provide significant heritage information relating house design and decoration, fencing and household gardens.The photograph may also be aesthetically significant depending on the importance of the photographic atelier.On the reverse of a subdivision plan of the Palmyra Estate (Kew) is a photograph of a double-fronted Edwardian villa. The weatherboard and stucco house with high brick chimneys provides a clear indication of the style of curtains and gardens in houses of the period. Holland blinds with lace inserts are used in the left front window. They are combined with long lace curtains. The garden, with its curved pathway is bordered with garden beds that include marguerite daisies and roses. Reflecting a new interest in the Australian landscape, tree ferns and ground ferns are planted closer to the house.houses - kew, architecture - edwardian, real estate photographs

One of a group of slides taken by members of the Society of built heritage in Kew in 1979-80. The selection of subject matter reflects the priorities of the period. The colour of some slides has degraded. This particular slide is of 'Fairholme' on the corner of Barry and Fellows Street. The building is listed by the National Trust (Victoria). The citation on the Historic Buildings Register states: 'Fairholme is of State architectural significance as a distinctive free Romanesque Revival residence. Built in two stages, 1889 for solicitor Edward Smart and early this century for importer, J K Meritt, the singular architectural character of Fairholme is achieved by combining window bays and groups of windows with a two-storey gabled porch. The deliberate and distinctively asymmetrical composition is emphasised by Art Nouveau pressed cement detailing (coprosma) on a bowed balcony and the two-storey timber verandah, which is typical of the Edwardian period. The architects were Reed, Henderson & Smart (1889) and C Gordon McCrae (c 1900-1). Internally a grand entry hall with inglenook, staircase and gallery follow the Arts and Crafts quality of the exterior. Classified: 17/03/1993'The slides represent a snapshot in time of built architecture in Kew, much of which has changed in the forty-plus period since they were created. 35mm colour transparency (slide) of 'Fairholme' (1889) on the north-east corner of the intersection of Fellows and Barry Streets, Kew. The photo was developed in May 1979.barry street -- kew (vic.), fellows street -- kew (vic.), historic houses -- kew (vic.), architects -- reed henderson & smart, architectural styles -- romanesque revival, j k merritt

After training as a Cartographic Draftsman within the mining industry, I worked as a property illustrator for real estate firms in the eastern suburbs of Melbourne for 23 years from 1983. I initially photographed houses with a Polaroid camera and made a 'thumbnail' sketch while there. The photos were used to scale off a sketch in pencil and then that sketch was overlaid with drafting film and the 'pen and ink' completed. The pens I used were the Rotring ‘Rapidigraph’ drafting pens. The ink was also made by Rotring (German).The film was ‘Rapidraw’, polyester drafting film, double matte. It takes a very fine line and doesn’t bleed. As well as house sketches, there were often floor plans and site plans ordered. Aerial sketches were ordered when the property needed an overall view. (Margaret Picken, 2020)This drawing is one of a series created by Margaret Picken for a range of real estate agents in Melbourne between c.1983 and c.2005. Each work is signed and dated by the artist.Gift of Margaret Picken, 2020Single fronted Edwardian weatherboard house, with a later first floor extension. The pen and ink drawing on drafting film of 180 Brougham Street by Margaret Picken dates from 1990 and predates the extension.180 BROUGHAM ST., KEW / MARGARET PICKEN '90 / WOODARDS ~ KEWartist -- margaret picken 1950-, architectural drawings -- houses -- kew (vic.), 180 brougham street -- kew (vic.)

After training as a Cartographic Draftsman within the mining industry, I worked as a property illustrator for real estate firms in the eastern suburbs of Melbourne for 23 years from 1983. I initially photographed houses with a Polaroid camera and made a 'thumbnail' sketch while there. The photos were used to scale off a sketch in pencil and then that sketch was overlaid with drafting film and the 'pen and ink' completed. The pens I used were the Rotring ‘Rapidigraph’ drafting pens. The ink was also made by Rotring (German).The film was ‘Rapidraw’, polyester drafting film, double matte. It takes a very fine line and doesn’t bleed. As well as house sketches, there were often floor plans and site plans ordered. Aerial sketches were ordered when the property needed an overall view. (Margaret Picken, 2020)This drawing is one of a series created by Margaret Picken for a number of real estate agents in Melbourne between 1983 and 2005. Each work is signed and dated by the artist.Gift of Margaret Picken, 2020Double-fronted weatherboard Edwardian residence; named 'Goodwood'. Pen and ink architectural drawing on drafting film of 16 Kent Street, Kew by Margaret Picken. 16 KENT ST., KEW / MARGARET PICKEN '93 / WOODARDS ~ KEWartist -- margaret picken 1950-, architectural drawings -- houses -- kew (vic.), 16 kent street -- kew (vic.)

After training as a Cartographic Draftsman within the mining industry, I worked as a property illustrator for real estate firms in the eastern suburbs of Melbourne for 23 years from 1983. I initially photographed houses with a Polaroid camera and made a 'thumbnail' sketch while there. The photos were used to scale off a sketch in pencil and then that sketch was overlaid with drafting film and the 'pen and ink' completed. The pens I used were the Rotring ‘Rapidigraph’ drafting pens. The ink was also made by Rotring (German).The film was ‘Rapidraw’, polyester drafting film, double matte. It takes a very fine line and doesn’t bleed. As well as house sketches, there were often floor plans and site plans ordered. Aerial sketches were ordered when the property needed an overall view. (Margaret Picken, 2020)This drawing is one of a series created by Margaret Picken for a number of real estate agents in Melbourne between 1983 and 2005. Each work is signed and dated by the artist.Gift of Margaret Picken, 2020Double-fronted Edwardian weatherboard villa. Pen and ink architectural drawing on drafting film of 31 Kent Street by Margaret Picken in 2000. Subsequent alterations and additions made in 2006. 31 KENT ST., KEW / MARGARET PICKEN 2000 / FLETCHER & PARKERartist -- margaret picken 1950-, architectural drawings -- houses -- kew (vic.), 31 kent street -- kew (vic.)

After training as a Cartographic Draftsman within the mining industry, I worked as a property illustrator for real estate firms in the eastern suburbs of Melbourne for 23 years from 1983. I initially photographed houses with a Polaroid camera and made a 'thumbnail' sketch while there. The photos were used to scale off a sketch in pencil and then that sketch was overlaid with drafting film and the 'pen and ink' completed. The pens I used were the Rotring ‘Rapidigraph’ drafting pens. The ink was also made by Rotring (German).The film was ‘Rapidraw’, polyester drafting film, double matte. It takes a very fine line and doesn’t bleed. As well as house sketches, there were often floor plans and site plans ordered. Aerial sketches were ordered when the property needed an overall view. (Margaret Picken, 2020)This drawing is one of a series created by Margaret Picken for a number of real estate agents in Melbourne between 1983 and 2005. Each work is signed and dated by the artist.Gift of Margaret Picken, 2020Originally a single-storey Edwardian weatherboard villa with a later two storey addition. Pen and ink architectural drawing on drafting film of 56 Kent Street, Kew by Margaret Picken in 1998.56 KENT ST., KEW / MARGARET PICKEN '98 / WOODARDS ~ HAW.artist -- margaret picken 1950-, architectural drawings -- houses -- kew (vic.), 56 kent street -- kew (vic.)

After training as a Cartographic Draftsman within the mining industry, I worked as a property illustrator for real estate firms in the eastern suburbs of Melbourne for 23 years from 1983. I initially photographed houses with a Polaroid camera and made a 'thumbnail' sketch while there. The photos were used to scale off a sketch in pencil and then that sketch was overlaid with drafting film and the 'pen and ink' completed. The pens I used were the Rotring ‘Rapidigraph’ drafting pens. The ink was also made by Rotring (German).The film was ‘Rapidraw’, polyester drafting film, double matte. It takes a very fine line and doesn’t bleed. As well as house sketches, there were often floor plans and site plans ordered. Aerial sketches were ordered when the property needed an overall view. (Margaret Picken, 2020)This drawing is one of a series created by Margaret Picken for a range of real estate agents in Melbourne between c.1983 and c.2005. Each work is signed and dated by the artist.Gift of Margaret Picken, 2020'Orlandon', a single-storey weatherboard Edwardian semi-detached house. Built c.1905. Pen and ink architectural drawing on drafting film of 4 Derrick Street, Kew by Margaret Picken in 1992. Subsequent two-storey addition at rear. 4 DERRICK STREET, KEW / MARGARET PICKEN 1992 / WOODARDS ~ KEWartist -- margaret picken 1950-, architectural drawings -- houses -- kew (vic.), 4 derrick street -- kew (vic.)

Ernest Anderson (head gardener) and Harry (gardener) worked at Williamstown Botanic Gardens. The Anderson family lived in the curators lodge on the grounds in the 1930s. Horses were used at the gardens until the 1960s when the council bought a truck. Mr Biggs drove as Mr Anderson did not have a licence. He rode his bike to the Town Hall every Friday to put in the time sheets. The collection is the only known photos of the Gardens working horses and demonstrates Edwardian Municipal gardening techniques that continued into the 1960s. They are photographic evidence of the planting styles, species choices and structures. Details inscribed on the reverse of some of the photos confirm names of staff at this time. Photo 13 (m) m: Only known photo of Ernest Anderson to be held by the Gardens2013.001.a-l is a collection of 12 small format photographs from the Anderson family album dated from 1917-1936 plus one large image of donor's wedding c1953. Ernest Anderson (head gardener) and Harry (gardener) worked at Williamstown Botanic Gardens. The Anderson family lived in the curators lodge on the grounds in the 1930s. Photo 1 (a) Sepia photo of young girl (Chic Anderson) on horse with no saddle. Two men, with hands on hips, standing alongside wearing hats. All are on a small hill (a compost heap) with a shrub on the left of the image. Photo 2 (b) Young girl and horse standing on the top of a small hill (compost heap). Girl has short hair and is wearing a jumper, skirt and long socks. Horse has no saddle and has its head down as if to eat. Photo 3 (c) Horse and foal standing in a fenced enclosure. Part of yard is paved. Horse has a white blaze and white feet. Foal has white blaze and white legs and is looking up at the horse. Photo 4 (d) Horse pulling a mower. Two men standing with mower. One is holding mower, the other the reins of the horse. Both men are wearing hats, with one wearing a vest. Horse has hessian wrapping on his hooves. Photo 5 (e) Horse and man. Horse has a rope bridle. Man holding bridle and is dressed in trousers, shirt, cardigan and hat. They are in front of a hedge and closed timber gate. Tall palm is in background. Horse is side on to the camera. Photo 6 (f) Man and horse standing in front of hedge and open timber gate. Palms in background. Man wearing trousers, shirt, vest, tie, hat. Trousers look to be tucked into boots. He is looking at the horse. The horse is facing the camera. Photo 7 (g) Three horses looking over a picket fence. All with a white blaze. There is a timber wall with a window to the right of the photograph. A man’s arm holding something is seen on the right of the photo. Photo 8 (h) Large palm tree, understorey of shrubs with two palms in the background. Photo 9 (i) Scene of the Gardens. Path dividing at a conifer tree. Woman in long skirt and hat looking up at the conifer. Different varieties of palm trees with understorey of shrubs. Photo 10 (j) Garden bed of Dahlias surrounded by a wire fence. Palms and other trees in background. Photo 11 (k) Avenue of tall palm trees with under storey of shrubs. Photo has angles cut at top corners and two large crease marks at the bottom right hand corner. Photo 12 (l) Set of cast iron gates – double carriage gates with single pedestrian gates on either side and supported by four cast iron posts with ornamental finials on top. Photo 13 (m) Ernest Anderson and daughter Chic prior to her wedding. Ernest is holding his gloves in his left hand and Chic’s hand with his right. Palms trees in the background. Photo 1 (a) 'Ern & Harry / May 8th 1936' Photo 2 (b) ‘Jack aged 36 / Chic 5 years / (unclear) 1936’ Photo 3 (c) ‘foal born in / back shed’ Photo 4 (d) ‘The Olde Firm / Jack Ernie Harry / 1917’ Photo 6 (f ) ‘Before the / council provided / a truck all / work was done / with the horses’ Photo 7 (g) ‘our work horses’ Photo 9 (i) ‘Panoramic view of Gardens / looking South from Lodge / Wms Town Botanical Gardens / 15-10-17’ Photo 12 (l) ‘Gates Public Gardens’hobsons-bay-city-council, curator, lodge, horse, transport, dahlia, compost, anderson, williamstown, botanic, gardens, williamstown-botanic-gardens, hobsons-bay, hobsons, edwardian, gardening, 1936, 1917,

The original postcards in this series (2013.002 to 2013.018) were generously loaned to Williamstown Botanic Gardens by a private collector for copying. The postcards are evidence of the interest the gardens held as a subject for postcard publishers. The text and images provide a snapshot into fashions, social interests and concerns of the time. The professionally produced images provide a pictorial history of Gardens including changing planting styles, various structures and features of the Gardens eg the aviary, cannons, the fountain, the second Curator’s Lodge and gates. The images offer an opportunity to compare garden vistas with the present day. The many annuals seen in this postcard demonstrates the intensity of Edwardian gardening Colour Postcard of staked flowers (mostly blue) surrounding a grassed area with a circular garden in the centre and trees in the backgroundFront: ‘The Botanic Gardens, Williamstown’. Reverse: ‘POST W.T.P. (in a double rectangle inside a patterned diamond) CARD’ centre top of card, underlined with a dividing line down the centre of the card. ‘This Space may be used for Correspondence’ on left side of line; ‘This Space for Address Only.’ on right side of line. A red Victorian one penny stamp on right top corner. In pencil under ‘POST’: ‘21/1/09’. See image for inscription from Julia to Miss R Gunn.postcard, garden-beds, post-card, williamstown-botanic-gardens, hobsons-bay-city-council, 1909, miss gunn, colour-postcard, flowers, julia

The original postcards in this series (2013.002 to 2013.018) were generously loaned to Williamstown Botanic Gardens by a private collector for copying. The postcards are evidence of the interest the gardens held as a subject for postcard publishers. The text and images provide a snapshot into fashions, social interests and concerns of the time. The professionally produced images provide a pictorial history of Gardens including changing planting styles, various structures and features of the Gardens eg the aviary, cannons, the fountain, the second Curator’s Lodge and gates. The images offer an opportunity to compare garden vistas with the present day. This postcard shows the main east-west axial path with a typical Victorian/Edwardian mown grass strip which in turn borders formal shrub beds with herbaceous plantings. The Cordylines which line and avenue in this image were replaced by Mexican Fan Palms (Washingtonia robusta) planted in 1915. They were replaced with the same species in 1987. Black and white postcard of Gardens main path, looking towards a white statue on a plinth. The statue is of Williamstown MLA, A T Clark. There are for people walking towards the camera – two women, a small girl and two men. The women and child are on the right of the path and the men on the left. One woman is pushing a pram. The path is edged with grass and the beds are full of flowers. There are no palms lining the path as there are today in 2013. On front of postcard ‘IN THE GARDENS, WILLIAMSTOWN’.postcard, garden-beds, post-card, williamstown-botanic-gardens, hobsons-bay-city-council, pram, clark

The original postcards in this series (2013.002 to 2013.018) were generously loaned to Williamstown Botanic Gardens by a private collector for copying. They are evidence of the interest the gardens held as a subject for postcard publishers. The text and images provide a snapshot into fashions, social interests and concerns of the time. The professionally produced images provide a pictorial history of Gardens including changing planting styles, various structures and features of the Gardens eg the aviary, cannons, the fountain, the second Curator’s Lodge and gates. The images offer an opportunity to compare garden vistas with the present day. This postcard shows the main east-west axial path with a typical Victorian/Edwardian mown grass strip which in turn borders formal shrub beds with herbaceous plantings. The photo was taken after the Mexican Fan Palms (Washingtonia robusta) planted in 1915, which in turn were replaced with the same species in 1987. Sepia postcard of the Palm Avenue at the gardens looking west to a white statue on a plinth. The statue is of Williamstown MLA, Alfred Thomas Clark. Palms and shrubs line both sides of the path and trees can be seen behind the statue. The shadows of the plantings are across the path.Front: VALENTINE’S, M.360 PALM AVENUE WILLIAMSTOWN GARDENS MELBOURNE, VICTORIA. REAL PHOTO. Reverse: vertical on left side of card and underlined: ‘Published by the Valentine & Sons Publishing Co. Ltd. / Melbourne. Sydney & Brisbane’. Top centre of card: Contains logo of ‘VALENTINES / REAL PHOTO SERIES / POSTCARD’. There is a red two penny Australian Postage stamp on the top right hand corner. The address of the sender is 1 Railway Place, Williamstown and the card is addressed to Mr and Mrs Nayler (?) in Footscray. The remaining writing unable to be deciphered postcard, gardens, post-card, williamstown-botanic-gardens, hobsons-bay-city-council, statue, clark, alfred-thomas-clark, palms, palm-avenue, valentine-and-sons

The original postcards in this series (2013.002 to 2013.018) were generously loaned to Williamstown Botanic Gardens by a private collector for copying. The postcards are evidence of the interest the gardens held as a subject for postcard publishers. The text and images provide a snapshot into fashions, social interests and concerns of the time. The professionally produced images provide a pictorial history of Gardens including changing planting styles, various structures and features of the Gardens eg the aviary, cannons, the fountain, the second Curator’s Lodge and gates. The images offer an opportunity to compare garden vistas with the present day. This postcard shows the main east-west axial path with a typical Victorian/Edwardian mown grass strip which in turn borders formal shrub beds with herbaceous plantings. The Cordylines which line and avenue in this image were replaced by Mexican Fan Palms (Washingtonia robusta) planted in 1915, which in turn were replaced with the same species in 1987. Black and White image of main path looking towards the statue of A C Clark. There is a man wearing a boater hat on the right side of the path and a woman and two children on the left side of the path. The path is lined with grass, shrubs and cycads. This image is before the border of the path was planted with palm trees, which was 1915.Front: ‘The Botanic Gardens, Williamstown’. Reverse: Top Centre ‘POST CARD’. Top left hand side ‘This space may be used for Correspondence. / Postage to any Address in Victoria, 1 d; / to other States, 11/2 d.’ Right side and top centre of card in pencil 'C1908' and '$3' [believed to be inserted by the vendor of the card]postcard, gardens, post-card, williamstown-botanic-gardens, hobsons-bay-city-council, garden-path, cycads, 1908, clark

The original postcards in this series (2013.002 to 2013.018) were generously loaned to Williamstown Botanic Gardens by a private collector for copying. The postcards are evidence of the interest the gardens held as a subject for postcard publishers. The text and images provide a snapshot into fashions, social interests and concerns of the time. The professionally produced images provide a pictorial history of Gardens including changing planting styles, various structures and features of the Gardens eg the aviary, cannons, the fountain, the second Curator’s Lodge and gates. The images offer an opportunity to compare garden vistas with the present day. This postcard, looking east on the main east-west axial path with a typical Victorian/Edwardian mown grass strip which in turn borders formal shrub beds with herbaceous plantings. The photo was taken after the Mexican Fan Palms (Washingtonia robusta) planted in 1915, which in turn were replaced with the same species in 1987. Sepia image of main path of Gardens, looking east towards the Osborne Street gates and three people. The path is lined with grass, shrubs and palms. Reverse: ‘POST CARD / CARTE POSTALE / Communication – Correspondence Address – Adresse’. Top right corner: a rectangle with a logo in the centre and ‘STAMP / HERE’. In pencil ‘AUSTRALIA / 50p / 1920s’postcard, gardens, post-card, williamstown-botanic-gardens, hobsons-bay-city-council, garden-path, palms, osborne street, 1920

The original postcards in this series (2013.002 to 2013.018) were generously loaned to Williamstown Botanic Gardens by a private collector for copying. The postcards are evidence of the interest the gardens held as a subject for postcard publishers. The text and images provide a snapshot into fashions, social interests and concerns of the time. The professionally produced images provide a pictorial history of Gardens including changing planting styles, various structures and features of the Gardens eg the aviary, cannons, the fountain, the second Curator’s Lodge and gates. The images offer an opportunity to compare garden vistas with the present day. The many annuals seen in this postcard demonstrates the intensity of Edwardian gardening. Colour scene of staked flowers (mostly blue) surrounding a grassed area with a circular garden in the centre and trees in the backgroundFront: ‘The Botanic Gardens, Williamstown’. Reverse: ‘POST W.T.P. (in a double rectangle inside a patterned diamond) CARD’ centre top of card, underlined with a dividing line down the centre of the card. ‘This Space may be used for Correspondence’ on left side of line; ‘This Space for Address Only.’ on right side of line. Right top corner inside dotted lines to indicate stamp placement ‘Printed / in / Germany / 155/103580’.postcard, garden-beds, post-card, williamstown-botanic-gardens, hobsons-bay-city-council, colour-postcard, flowers

On 18 July 1891, a statue of local MLA Alfred Thomas Clarke was erected in a circular plot at the intersection of the major axial paths. AT Clarke was Williamstown's representative in the Legislative Assembly from 1871 to 1887, and a Commissioner of Trade & Customs in the third Berry Ministry. He did his utmost to defend Williamstown against the Melbourne Harbour Trust and was also the founder of the Advertiser. The statue was sculpted by Enrico Luchinelli in Cararra marble. The likeness was taken from a photograph.The postcards are evidence of the interest the gardens held as a subject for postcard publishers. The text and images provide a snapshot into fashions, social interests and concerns of the time. The professionally produced images provide a pictorial history of Gardens including changing planting styles, various structures and features of the Gardens eg the aviary, cannons, the fountain, the second Curator’s Lodge and gates. The images offer an opportunity to compare garden vistas with the present day. This postcard shows the main east-west axial path with a typical Victorian/Edwardian mown grass strip which in turn borders formal shrub beds with herbaceous plantings. The Cordylines which line the avenue in this image were replaced by Mexican Fan Palms (Washingtonia robusta) planted in 1915, which in turn were replaced with the same species in 1987 A colour image of main east west axial path looking towards the statue of A C Clarke enclosed with a white fence. The path is lined with grass, shrubs and Cordylines. This image is before the Cordylines were replaced with palm trees, which was 1915.Front: ‘The Botanic Gardens, Williamstown’. Reverse: Top ‘POST CARD’ Left side ‘The Space may be used for Correspondence’; Right side: ‘For Address Only.’ Top right corner is a red Victorian one penny stamp. The card is addressed to Mr R Fraser / Collins St. / Essendon from his niece, whose name is unclear. postcard, gardens, post-card, williamstown-botanic-gardens, hobsons-bay-city-council, garden-path, cordylines, clarke, 1891, enrico luchinelli, cararra marble

Includes glossary. Focuses on the style of homes built for a new generation of home owners after World War 1. Interiors were often simple and offered a 'modern' feel after the gloom and dust trapping ornateness of Victorian and Edwardian houses. This book covers different aspects of these houses in more detail.californian bungalows, architecture, houses, (mr) graeme butler

‘Eignbrook’ at 10 Pembroke Street was built 1904. Until the 1950s this area was the highest spot in the metropolitan area and ships in the Bay could be seen from ground level and views extended almost 360 degrees. A number of homes of this Edwardian period had viewing towers, the one in the photo being that of ‘Maroondah’ at 12 Pembroke Street. Photo taken by W V Hill. Courtesy: Mr William (Bill) Dempsey. Original sepia photograph of a weatherboard home in the Queen Anne style. It has a steep pitched iron roof. It has a woven wire fence across the front of the property and decorative gates. Mounted on white cardboard photo taped on 2 corners.Back of photo is inscribed “Hills, 10 Pembroke St, Surrey Hills”. Card has written underneath the photo, “10 Pembroke St, Home of Hills family, built 1904”pembroke street, house names, surrey hills, hills family, 'maroondah', 'eignbrook', (mr) w v hill, (mr) william (bill) dempsey, journalist, queen anne style, (mrs) annie hill

A biographical history by Dorothy Selby (nee Emerson) recollecting the people she came into contact with during her time in Surrey Hills from 1915-1937.A4, comb binding, 9 pageshouse names, kookaburra, albany crescent, surrey hills, (miss) dorothy emerson, (mrs) dorothy emerson, warrigal road, boundary road, st stephen's presbyterian church, (mrs) - gillies, (mr) tom ward, dentist, (mrs) - bowen, edwardian style, royal hotel, broughton road, (mrs) - brogan, (mr) - brogan, (mr) - tuckett, tacey's butcher, (mr) james tait, draper, (mr) alfred rose, state savings bank, surrey college, tower house college, balmoral crescent, (mr) - clewett, (mr) percy blood, stenning and holyoak, grocers, (mr) - pell, greengrocer, confectioner, fishmonger, (mr) tommy everon, (miss) beatrice bligh, (mr) - lyons, (mr) - ray, surrey hills station, transport, (ms) kitty mcewan, golfer, taxis, (mr) - collins, surrey hills primary school, (dr) (mr) - forsythe, (dr) (mr) - gandever, windsor crescent, valonia avenue, victoria avenue, (mr) john blogg, progress association, rechabite hall, (mr) claude wardle, (miss) beatrice oakley, empire day, (mr) robert gordon menzies, girl guides, (ms) nancy steele, (ms) hattie steele, (dr) (mr) - blaikie, (mr) - richards, stationmaster, crime, (mr) - cockerill, (mr) horrie breedon, first enlistment, (mr) (rev) brazier, (mr) (rev) - oakes, (mr) (rev) - gillies, (mr) (rev) - mudford, (mr) (rev) - millikan, (mr) (rev) - cockett, (mr) (rev) alfred gifford, (mr) (fr) david gleeson

Date is approximate. Two original post cards of this image - "Surrey Hills - looking East" - were donated by Stephen Wyatt on 10 March 2012. One is blank; the other has been sent to Mrs A Wyatt, C/O Mrs E Young, 'Grand View', Warburton from daughter Nellie from 'The Quantocks', Surrey Hills - postmarked 10 Dec 1906. There is also a reproduction of this image in a framed collage of Surrey Hills photos.This is the earliest known image of the Surrey Gardens. The layout was originally designed by William Guilfoyle, who also designed Melbourne’s Royal Botanic Gardens.Black and white photo taken from an early postcard. Taken from the roof of a house in Essex Road, it shows the development of housing between Essex and Union Roads and includes the section of land fenced off for the Surrey Gardens with paths roughly laid out, one existing tree but no tree planting. The houses depicted are largely Edwardian timber buildings with corrugated rooves. There are still some vacant blocks. Kirkland on Union Road can be seen in the distance, as can some of the shops along Canterbury Road.Lower LHS within original image: " Surrey Hills - Looking East"; on the rear "No 17" in black pen in top LH corner.edwardian style, residential development, kirkland, essex road, suffolk road, norfolk road, surrey gardens, post card

Quamby was built in 1898. From 1900/1903-1924 it was the home of Andrew Sherar and family. From 1924-1960s it operated as Mosgiel Hospital under the direction of Matron Elizabeth Anderson. Until Box Hill Hospital opened most Surrey Hills children were born at Mosgiel or at Nethercourt Hospital in Wilson Street or later in Union Road when Matron Tank moved her hospital here. Mosgiel Hospital was demolished c 1975 after it was sold by Box Hill Hospital. It was replaced by units. Andrew Sherar was conductor of the Wyclif Church choir for many years and was a member of the Melbourne Liedertafel. Isie Sherar was organist at Wyclif Church and also taught piano in Union Road. Connie Sherar was in the Wyclif choir and married Ernest Swan, an elocutionist and orator. Dorothy Sherar was a pianist and accompanist. Elsie Sherar was also in the Wyclif choir and was a soloist; she later moved to Templestowe. Ken Sherar was a boy soprano at St Paul's Cathedral; he later moved to Queensland.Black and white photo looking south down Vincent Street from 'Quamby', located at 293 Mont Albert Road, Surrey Hills. In the centre foreground is a timber house with 2 chimneys and a tiled hip roof. It has a return veranda and is fenced on 2 sides by paling fences and picket fences on the other two. In the background are many more houses. A road lined with power poles runs from the right foreground to the middle distance.quamby, vincent street, edwardian style, topography, andrew sherar, isie sherar, connie sherar, dorothy sherar, ken sherar, elsie wappet

The house was known as Rothwell and later as Kiora. It was the home of Mr and Mrs Tom Bulmer for many years. It has been demolished.Black and white photo taken from the street of a timber Edwardian home with 2 double brick chimneys and a galvanised iron roof. It has a verandah on 2 sides with wooden fretwork and the pathway leading towards the house has an archway over it. There is a similar archway on the LHS of the photo. The backyard is divided off with lattice fencing and the property has a simple front picket fence with gate behind which is a privet hedge.edwardian style, houses, kiora, rothwell, bulmer family, (mr) tom bulmer, albany crescent, surrey hills

This was the home of the Offszanka family from 1913; they came to Surrey Hills from Richmond. Carl Theodore Offszanka (1874-1944) was a furrier. Both he and his wife Ida, nee Schade, (1882-1963) were born in Germany. They married in Victoria in 1908. Their home was called 'Westfalia' (ref: 1919 electoral roll), presumably after the region in NW Germany. They had at least 4 children: Carl Bernard - b 1909 Marie Eliese - b 1910 Erna Helena - b 1913; d 1996 - listed at Guildford Road in electoral rolls. Bernard George - b 1914; d 1987 (Surrey Hills) - listed at Guildford Road in electoral rolls. The family were associated with Our Holy Redeemer and also donated class photos of the school to the collection. Carl and Ida are buried in Box Hill Cemetery (RC 032-0034). The semi-circular bay window is not original to the house. This home has had a 2nd storey added to it in late 1990s. According to a family descendant (REF: Email 1/8/20 from grandson) Carl Theodor Offszanka purchased the home in 1913 for £616. He also purchased the adjoining vacant block of land at 42 Guildford Road and ran a large orchard on it before later selling it. This appears to have been between 1920-1930. The family continued to occupy the house until after 1980 when Erna Helena and Bernard George are listed in the electoral rolls. Our property register lists Erna Helena Offszanka as the last member there. She died on 5 May 1996. Members of the Offszanka family lived in this property from its beginnings for more than 70 years. Such longstanding tenancy is unusual.Black and white photo of a timber Edwardian home at 44 Guildford Road Surrey Hills. The home has 2 bricks chimneys, a corrugated iron roof, timber fretwork to the verandah and a semi-circular bay window. The facade of the house is partially obscured by mature garden, possibly including large camellias, with rock-edged garden beds and a central path. The front fence is not visible.edwardian style, guildford road, offszanka family, carl theodor offszanka, ida schade (miss), carl bernard offszanka, bernard george offszanka, westfalia, ida offszanka (mrs), erna helena offszanka (miss), marie eliese offszanka (miss)