The site on the north side of High Street, Kew, on the corner of Disraeli Street is now the location of the Kew Recreation Centre. The current (as of 2020) swimming pool was formerly situated further west on the site but was relocated closer to Disraeli Street during the 1980s. Previously, this was the site of a Kew Council depot, and before that a horse tram shed. The horse tram (1887-1914) ran from the Victoria Street Bridge to the entrance of the Boroondara General Cemetery. Rusted horse shoe, excavated from the site of the Kew Recreation Centre on the corner of High and Disraeli Streets in Kew. The shoe was donated by Mr Poulter, City Engineer, City of Kew. The shoe may have been made for one of the horses that pulled the Kew Horse Tram or one of the Council depot horses.horse tram - kew (vic), archaeological items - kew (vic), horse shoes, kew recreation centre, council depots - kew (vic), tram sheds - kew (vic)

Colour enlargement of a photograph (slide) of Southesk (formerly Ordsall) in Cotham Road, Kew (demolished 1970).A colour photograph of the façade of ‘Southesk’ taken at an oblique angle. Formerly known as ‘Ordsall’, the house was built for John Halfey in 1882 on the corner of Cotham Road and Charles Street. The Italianate mansion was built in the Renaissance villa style on a bluestone plinth. Two balustrades surrounded the parapet of the roof and ran between the groups of pillars on either side of the entrance porch. The verandah was tiled and wide and Corinthian columns supported its roof. When the house passed into the hands of the City of Kew in 1948, the Council used it for a kindergarten, an elderly citizen centre and as a home for the Leo Baeck Centre. The house was demolished in 1970.david carnegie, john halfey, southesk - cotham road - kew (vic), ordsall - cotham road - kew (vic)

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

The Fashion & Design collection of Kew Historical Society includes examples of women’s, men’s, children’s and infants' clothing from the 18th, 19th and 20th centuries. While the collection includes some examples of international fashion, most items were handmade or purchased in Melbourne. Tenerife lace (calado canario) is one of the traditional industries of the Canary Islands off the coast of West Africa. It uses drawn work embroidery.Canary Island Tenerife lace blouse. The blouse is decorated with bands of drawn thread lace of two widths at the waist line. There are two bands of wide lace featuring two circular motifs and two simple narrow bands. The neckline is decorated with two bands of the wide lace and three bands of the narrow lace. There is a single button opening at both sides of the necklinefashion and textiles collection - kew historical society, lace, women's clothing, blouse, tenerife lace

The site of the former Kew Congregational Church was the earliest 'built' place of religion in Kew. An earlier building by Charles Vickers was replaced by a new brick church designed by Albert Purchas. Following the creation of the Uniting Church, the church at 30 Walpole Street was declared redundant and demolished to make way for the Bodalla Nursing Home (itself later demolished).Colour print positive of the former Congregational Church in Walpole Street, Kew. A side on view of the red brick and concrete renders building showing the small steeple and the front entrance."Oldest church in Kew. Taken Oct 1977. Formerly Congregational church"churches -- kew (vic), congregational churches, walpole street -- kew (vic), albert purchas

Dight’s Falls in Studley Park is an artificial weir built on a natural rock bar across the Yarra. The weir was built in the 1840s to provide water to the ‘Ceres’ flour-mill, one of the first in Victoria. The falls were later to become known as Dight’s Falls after the owners of the mill. Later, a pumping station was built on the Kew side of the river, which pumped water uphill to a reservoir in Walmer Street that provided water to the Melbourne Botanical Gardens and to Albert Park Lake. The area around Dight’s Falls was and is frequently used for recreational activities.Rare original print photograph of people walking across Dight's Falls when the river flow was low. View west towards Abbotsford. Photograph taken from Kew side of river above the Falls.Reverse: "M Holmes"dight's falls, river yarra -- kew - abbotsford

George Wharton arrived in Melbourne in 1844. An architect and surveyor, he was appointed to lay out the 'Village of Kew' by N.A. Fenwick following the land sales of 1851. A protagonist for Kew's separation from the Boroondara District Road Board, he was elected chairman when Kew achieved municipal status in December 1860. His home, 'Fernhurst', was built in 1866 on eight acres in Studley Park, with a four-storey tower and pyramidal roof. The Italianate home was a prominent Kew landmark. It was demolished in 1979 and replaced by St Paul's College in 1980.Rare colour photograph of what was once a significant mansion in Kew.Original colour positive photograph (Kodak print) of 'Fernhurst' in 1978. Photographed by Stewart West in May 1978, one year before it was demolished, the photograph gives little idea of the large landholding once surrounding the house. Originally accessed from near the corner of Princess Street and Studley Park Road, its gardens had been subdivided in the 1900s and its footprint restricted to 13 Fernhurst Grove. Like many other grand houses, by the 1970s it had been converted into apartments. From the photograph, one can see that the house had retained many of its original features such as the distinctive tower and the wide bow-fronted verandah. The slates on the roof (apart from those on the tower) had been replaced by tiles and the cement render of the exterior painted white. Annotated reverse: "Fernhurst from higher ground level side shot / 7"fernhurst, 13 fernhurst grove -- kew (vic.), george wharton, italianate architecture, vila maria society, st paul's school for the blind

Monochrome postcard titled lower right: “RIVER YARRA AT STUDLEY PARK, MELBOURNE”. The postcard was produced by ROBERT JOLLEY, MELB, (active 1900-1904). The photo is positioned to the left of the card and framed by an art nouveau design. A handwritten annotation on the front reads “BUT WITH THE MORNING / COOL REFLECTION CAME / BLANCHE STEPHENS”. On the reverse, there is a handwritten address in black ink to: MISS L STEPHENS / 26 WEST TERRACE / ADELAIDE. There is no division on the reverse of the postcard, dating it to before 1905. It lacks a postage stamp and postmark. Monochrome postcard of the River Yarra in Studley Park. The view is of the Yarra and its banks, with Kew on the left and Abbotsford on the right, as it appeared in the years 1900-1904. On the Abbotsford side of the river, there are a number of weeping willows lining the banks and houses on the hillside. The Studley Park side of the river includes some remnant vegetation and meandering walking tracks. Three very small figures are sitting on the Kew side. "RIVER YARRA AT STUDLEY PARK, MELBOURNE"river yarra -- kew (vic.), postcards -- kew, postcards -- studley park, robert jolley

Henry Beater Christian (1886-1962) , was a descendant of one of the earliest settler families in Kew. Employed at the Kew Asylum as a 'public servant', he was a skilled amateur photographer, photographing numerous scenes in Kew and on his travels around Victoria. The majority of his photographs date from 1916 to 1929. His finest photographs are housed in two photograph albums. A very rare, early panoramic view of Macauley's boat house on the Yarra River at Kew.Digital copy of a photograph from page 2 of the 47-page photograph album containing 261 gelatinous silver images, loaned by Diane Washfold with permission given to digitise and hold a copy in our collection. The photograph is of Macauley's boat sheds on the Yarra River at Kew. The boat sheds was located at the west end of Molesworth Street. The photograph is taken from the Yarra Bend Park side of the river looking down on the boat house from above. The canoes belonging to Macauley's are lined up on the river bank. "Macauley’s Kew"henry beater christian (1886-1962), landscape photography, kew (vic.) — yarra river, christian-washfold collection, photograph albums, macauley's boat sheds

Henry Beater Christian (1886-1962) , was a descendant of one of the earliest settler families in Kew. Employed at the Kew Asylum as a 'public servant', he was a skilled amateur photographer, photographing numerous scenes in Kew and on his travels around Victoria. The majority of his photographs date from 1916 to 1929. His finest photographs are housed in two photograph albums. A fine, early view of Macauley's boat sheds on the Yarra River at Kew.Digital copy of a photograph from page 2 of the 47-page photograph album containing 261 gelatinous silver images, loaned by Diane Washfold with permission given to digitise and hold a copy in our collection. The photograph is of Macauley's boat sheds on the Yarra River at Kew. The boat sheds were located at the west end of Molesworth Street. The photograph is taken from the Yarra Bend Park side of the river, or from a boat on the river. The canoes belonging to Macauley's are lined up on the river bank. "Macauley’s Kew"henry beater christian (1886-1962), landscape photography, kew (vic.) — yarra river, christian-washfold collection, photograph albums, macauley's boat sheds

Henry Beater Christian (1886-1962) , was a descendant of one of the earliest settler families in Kew. Employed at the Kew Asylum as a 'public servant', he was a skilled amateur photographer, photographing numerous scenes in Kew and on his travels around Victoria. The majority of his photographs date from 1916 to 1929. His finest photographs are housed in two photograph albums. A fine, early view of the river bank at Macauley's boat sheds on the Yarra River at Kew.Digital copy of a photograph from page 2 of the 47-page photograph album containing 261 gelatinous silver images, loaned by Diane Washfold with permission given to digitise and hold a copy in our collection. The photograph is of the river bank at Macauley's boat sheds on the Yarra River at Kew. The boat sheds were located at the west end of Molesworth Street. The photograph is taken from the Yarra Bend Park side of the river, or from a boat on the river. A group, probably members of the photographer's family, are sitting underneath a giant weeping willow."Macauley’s Kew"henry beater christian (1886-1962), landscape photography, kew (vic.) — yarra river, christian-washfold collection, photograph albums, macauley's boat sheds

Nicholas Caire was born on Guernsey in the Channel Islands in 1837. He arrived in Adelaide with his parents in about 1860. In 1867, following photographic journeys in Gippsland, he opened a studio in Adelaide. From 1870 to 1876 he lived and worked in Talbot in Central Victoria. In 1876 he purchased T. F. Chuck's studios in the Royal Arcade Melbourne. In 1885, following the introduction of dry plate photography, he began a series of landscape series, which were commercially successful. As a photographer, he travelled extensively through Victoria, photographing places few of his contemporaries had previously seen. He died in 1918. Reference: Jack Cato, 'Caire, Nicholas John (1837–1918)', Australian Dictionary of Biography.An original, rare photograph from the series 'Views of Victoria: General Series' by the photographer, Nicholas Caire (1837-1918). The series of 60 photographs that comprise the series was issued c. 1876 and reinforced a neo-Romantic view of the Australian landscape to which a growing nationalist movement would respond. Nicholas Caire was active as a photographer in Australia from 1858 until his death in 1918. His vision of the Australian bush and pioneer life had a counterpart in the works of Henry Lawson and other nationalist poets, authors and painters.Albumen Silver Photograph, mounted on Board. printed in ink on support l.c.: JUNCTION OF THE RIVER WATT AND CONTENTMENT CREEK. / COPYRIGHT REGISTERED. printed in ink on support reverse c.: VIEWS OF VICTORIA. / (GENERAL SERIES.) / No. 1. / JUNCTION OF THE RIVER WATT AND CONTENTMENT CREEK. / This scene is situated about two miles to the westward of Fernshawe, a small but extremely romantic township. / The river, at this juncture, is crossed by a fallen tree, as may be seen in the illustration. The track which is seen on / the opposite side of the river leads to the summit of Mt. Munda (3,500 feet high), 4 miles distant, from which place / visitors can see the Australian Alps, in all their mighty grandeur, stretching for hundreds of miles on either side, / and, as far as the eye can reach, impressing a beholder with the appropriateness of their title, being that of the Great Dividing Range. printed in ink on support reverse l.c.l.: J.W. FORBES, Agent, printed in ink on support reverse l.c.: ANGLO-AUSTRALASIAN PHOTOGRAPHIC COMPANY, MELBOURNE. printed in ink on support reverse l.c.r.: 10 Temple Court, Collins Street West.nicholas caire, views of victoria - general series, landscape photography

Nicholas Caire was born on Guernsey in the Channel Islands in 1837. He arrived in Adelaide with his parents in about 1860. In 1867, following photographic journeys in Gippsland, he opened a studio in Adelaide. From 1870 to 1876 he lived and worked in Talbot in Central Victoria. In 1876 he purchased T. F. Chuck's studios in the Royal Arcade Melbourne. In 1885, following the introduction of dry plate photography, he began a series of landscape series, which were commercially successful. As a photographer, he travelled extensively through Victoria, photographing places few of his contemporaries had previously seen. He died in 1918. Reference: Jack Cato, 'Caire, Nicholas John (1837–1918)', Australian Dictionary of Biography, National Centre of Biography, Australian National University, http://adb.anu.edu.au/biography/caire-nicholas-john-3139/text3683, published first in hardcopy 1969, accessed online 1 July 2016.An original, rare photograph from the series 'Views of Victoria: General Series' by the photographer, Nicholas Caire (1837-1918). The series of 60 photographs that comprise the series was issued c. 1876 and reinforced a neo-Romantic view of the Australian landscape to which a growing nationalist movement would respond. Nicholas Caire was active as a photographer in Australia from 1858 until his death in 1918. His vision of the Australian bush and pioneer life had a counterpart in the works of Henry Lawson and other nationalist poets, authors and painters.Albumen Silver Photograph, mounted on Board.printed in ink on support l.c.: VIEW OF PORTION OF THE CITY OF SANDHURST, AS SEEN FROM THE HILL, CAMP RESERVE / COPYRIGHT REGISTERED. printed in ink on support reverse c.: VIEWS OF VICTORIA. / (GENERAL SERIES.) / No. 4. / VIEW OF PORTION OF THE CITY OF SANDHURST AS SEEN FROM THE HILL, CAMP RESERVE. / The Camp Reserve is the principal public promenade in this City. The Rotunda in the foreground, formerly used / by the local bands on festive occasions, is now regarded as a relic of the past. To the right of the picture is shown the / City of Sandhurst claim, supposed to be on the Hustler's line of reef. St. Paul's Church tower may be seen in the / distance. To the left of the picture Williamstown-street branches out from Pall Mall. On one side of the street is the / far-famed Shamrock Hotel; on the other stands the Bank of Australasia, with St. James's Hall immediately behind it. printed in ink on support reverse l.c.l.: J.W. FORBES, Agent, printed in ink on support reverse l.c.: ANGLO-AUSTRALASIAN PHOTOGRAPHIC COMPANY, MELBOURNE. printed in ink on support reverse l.c.r.: 10 Temple Court, Collins Street West.nicholas caire (1837-1918), landscape photography

Nicholas Caire was born on Guernsey in the Channel Islands in 1837. He arrived in Adelaide with his parents in about 1860. In 1867, following photographic journeys in Gippsland, he opened a studio in Adelaide. From 1870 to 1876 he lived and worked in Talbot in Central Victoria. In 1876 he purchased T. F. Chuck's studios in the Royal Arcade Melbourne. In 1885, following the introduction of dry plate photography, he began a series of landscape series, which were commercially successful. As a photographer, he travelled extensively through Victoria, photographing places few of his contemporaries had previously seen. He died in 1918. Reference: Jack Cato, 'Caire, Nicholas John (1837–1918)', Australian Dictionary of Biography.An original, rare photograph from the series 'Views of Victoria: General Series' by the photographer, Nicholas Caire (1837-1918). The series of 60 photographs that comprise the series was issued c. 1876 and reinforced a neo-Romantic view of the Australian landscape to which a growing nationalist movement would respond. Nicholas Caire was active as a photographer in Australia from 1858 until his death in 1918. His vision of the Australian bush and pioneer life had a counterpart in the works of Henry Lawson and other nationalist poets, authors and painters.Albumen Silver Photograph mounted on boardprinted in ink on support l.c.: STATE SCHOOL, FERNSHAWE. / COPYRIGHT REGISTERED. printed in ink on support reverse c.: VIEWS OF VICTORIA. / (GENERAL SERIES.) / No. 5. / STATE SCHOOL, FERNSHAWE. / This educational institution occupies one of the most romantic situations of any of the State Schools in Victoria. / On either side of it runs a river and a creek, whilst immediately surrounding it are a great many large fern trees. / The background comprises many giants of the forest. In the centre of the picture stands a stump, about 60 feet / high, which has evidently been struck by lightning. The neighbourhood, not being a very populous one, furnishes / but 30 children for educational training. printed in ink on support reverse l.c.l.: J.W. FORBES, Agent, printed in ink on support reverse l.c.: ANGLO-AUSTRALASIAN PHOTOGRAPHIC COMPANY, MELBOURNE printed in ink on support reverse l.c.r.: 10 Temple Court, Collins Street West.nicholas caire (1837-1918), landscape photography

Nicholas Caire was born on Guernsey in the Channel Islands in 1837. He arrived in Adelaide with his parents in about 1860. In 1867, following photographic journeys in Gippsland, he opened a studio in Adelaide. From 1870 to 1876 he lived and worked in Talbot in Central Victoria. In 1876 he purchased T. F. Chuck's studios in the Royal Arcade Melbourne. In 1885, following the introduction of dry plate photography, he began a series of landscape series, which were commercially successful. As a photographer, he travelled extensively through Victoria, photographing places few of his contemporaries had previously seen. He died in 1918. Reference: Jack Cato, 'Caire, Nicholas John (1837–1918)', Australian Dictionary of Biography. The 1860s marked the beginning of the era of reserves and missions. Six Aboriginal reserves were established during the 1860s. These were under the control of the Board for the Protection of Aborigines. Four were Christian missions receiving government aid. These were Lake Tyers (Anglican) and Ramahyuck (Presbyterian/Moravian) in eastern Victoria for the Gunai/Kurnai clans; Ebenezer (Moravian) in north-west Victoria for the clans of the Wimmera and Lower Murray; and Lake Condah (Anglican) in south-west Victoria. The other two were secular government controlled reserves: Framlingham which, like Lake Condah, was established for the Mara-speaking Gunditjmara and Kirrae-wurrung people of south-west Victoria; and Coranderrk, located about 60 kilometres north-east of Melbourne, for the Kulin clans of central Victoria. In 1863, after a period of devastation to the Kulin people, Coranderrk was established at the junction of the Yarra River and Badger Creek. Reference: http://coranderrk.com/, accessed 24 December 2016An original, rare photograph from the series 'Views of Victoria: General Series' by the photographer, Nicholas Caire (1837-1918). The series of 60 photographs that comprise the series was issued c. 1876 and reinforced a neo-Romantic view of the Australian landscape to which a growing nationalist movement would respond. Nicholas Caire was active as a photographer in Australia from 1858 until his death in 1918. His vision of the Australian bush and pioneer life had a counterpart in the works of Henry Lawson and other nationalist poets, authors and painters.Albumen silver photograph mounted on boardprinted in ink on support l.c.: SCENE NEAR "CORRANDERRK" STATION. / COPYRIGHT REGISTERED. printed in ink on support reverse c.: VIEWS OF VICTORIA. / (GENERAL SERIES.) / No. 9. / SCENE NEAR "CORRANDERRK" STATION. / This scene was taken from the hill near Rourke's Bridge, on the Healesville Road, and displays in the foreground / the River Yarra. The roadway which is seen in the mid-distance has lately been constructed by the Government, / as the old tracks which formerly existed, were liable to be swamped by the periodical overflowing of the River. Mount / Ridell can be seen in the extreme distance immediately behind the roadway. / Corranderrk is the local habitation / for the natives of this district, and is situated on the right hand side of the picture, about a mile and a half / from the roadway. printed in ink on support reverse l.c.l.: J.W. FORBES, Agent, printed in ink on support reverse l.c.: ANGLO-AUSTRALASIAN PHOTOGRAPHIC COMPANY, MELBOURNE. printed in ink on support reverse l.c.r.: 10 Temple Court, Collins Street West.nicholas caire (1837-1918), coranderrk aboriginal station, aborigine, yarra river, badger creek, first peoples, aboriginal and torres straight islander

Nicholas Caire was born on Guernsey in the Channel Islands in 1837. He arrived in Adelaide with his parents in about 1860. In 1867, following photographic journeys in Gippsland, he opened a studio in Adelaide. From 1870 to 1876 he lived and worked in Talbot in Central Victoria. In 1876 he purchased T. F. Chuck's studios in the Royal Arcade Melbourne. In 1885, following the introduction of dry plate photography, he began a series of landscape series, which were commercially successful. As a photographer, he travelled extensively through Victoria, photographing places few of his contemporaries had previously seen. He died in 1918. Reference: Jack Cato, 'Caire, Nicholas John (1837–1918)', Australian Dictionary of Biography.An original, rare photograph from the series 'Views of Victoria: General Series' by the photographer, Nicholas Caire (1837-1918). The series of 60 photographs that comprise the series was issued c. 1876 and reinforced a neo-Romantic view of the Australian landscape to which a growing nationalist movement would respond. Nicholas Caire was active as a photographer in Australia from 1858 until his death in 1918. His vision of the Australian bush and pioneer life had a counterpart in the works of Henry Lawson and other nationalist poets, authors and painters.Albumen silver photograph on boardprinted in ink on support l.c.: VIEW OF STURT STREET, BALLARAT, TAKEN FROM THE TOWN HALL TOWER. / COPYRIGHT REGISTERED. printed in ink on support reverse c.: VIEWS OF VICTORIA. / (GENERAL SERIES.) / No. 13. / VIEW OF VICTORIA HILL, BENDIGO, TAKEN FROM OLD CHUM HILL. / This scene represents two of the principal Quartz-reef claims in the district of Bendigo, with their surface / excavations. The one nearest the foreground is the North Old Chum's Company's claim, which is very rich with / gold-bearing quartz. The other claim, on the hill side, is the private property of Mr. George Lansell, and is even / more valuable than the former, giving employment to over 100 men. The building on the right is the quartz-crushing / plant belonging to the new Chum and Victoria Companies. The excavations are several hundred feet in depth. printed in ink on support reverse l.c.l.: J.W. FORBES, Agent, printed in ink on support reverse l.c.: ANGLO-AUSTRALASIAN PHOTOGRAPHIC COMPANY, MELBOURNE. printed in ink on support reverse l.c.r.: 10 Temple Court, Collins Street West.nicholas caire (1837-1918), landscape photography, victoria hill - bendigo - victoria

Colour photograph by Stuart West of the Chandler Highway Bridge from the Fairfield side of the River.Nilchandler highway bridge, stewart west

The 20th Light Horse was raised as part of the reorganised Citizen Military Forces (Militia) following the end of WWI. It had Headquarters at Seymour Victoria and sub-units along the Goulburn Valley. The guidon, emblazoned with the South African and WWI battle honours, was presented in 1927. The 20th Light Horse served overseas during WWII being the only Light Horse unit to do so and received the battle honour South West Pacific 1944-45. In 1948 when 8/13 Victorian Mounted Rifles was raised as the descendent regiment of the 8th, 13th and 20th Light Horse Regiments it became the custodian of the three guidons including that of the 20th Light Horse. In 1991, the two Victorian mounted regiments 8/13th VMR and 4/19th Prince of Wales's Light Horse were linked to form a single regiment which had custodianship of six guidons, 4th, 8th 13th, 17th 19th and 20th Light Horse Regiments. All except the 4th Light Horse Guidon were laid up at the Shrine in August 2005. The 4th guidon is to be laid up in November 2017.A representative example of a symbol of the esprit de corps and achievements of a regiment of citizen soldiers drawn from Victoria. Well provenanced and fine example of military heraldic art.Burgundy corded cotton flag with gold thread fringe with rope and tassels. at centre is 20th Light Horse badge surrounded by wattle wreath with purple and gold rectangular colour patch under. XX in top left corner and battle honours on either side of centre motif."South Africa 1899-1902, Gallipoli 1915, Palestine 1917-18, Anzac, Egypt 1915-17, South West Pacific 1944-45"guidons, flags, embroidery, citizen military forces, heraldry, light horse regiments

The 2/8th Armoured Regiment was raised in June 1941 under the command of Lieutenant Colonel W G Hopkins with officers and men selected from the wider AIF in Victoria. The regiment trained in newly arrived M3 General Grant tanks at Puckapunyal before moving north to Singleton, then the Wee Waa plains. The regiment sailed for New Guinea in April 1943 and carried out mobile defence to airfields at Port Moresby, Milne Bay, Dobadura and Popondetta. The regiment returned to Australia in February 1944 and disbanded as an armoured regiment and retrained as Nos 41, 42 and 43 Landing Craft Companies. They returned to the South West Pacific serving at Bougainville, Balikpapan, Lae and Wewak.Good study showing men of an armoured regiment from Victoria marching in Melbourne early in WWII (1939-45)Framed photograph of soldiers marching through Melbourne city street; crowds on both sides of street.Below photograph ""A Squadron 2/8th Armoured Regiment , Melbourne, 17th October 1941. Squadron Commander Major Jenkins. RSM Arch Martin"2/8th armoured regiment, melbourne

The 2/8th Armoured Regiment was raised in June 1941 under the command of Lieutenant Colonel W G Hopkins with officers and men selected from the wider AIF in Victoria. The regiment trained in newly arrived M3 General Grant tanks at Puckapunyal before moving north to Singleton, then the Wee Waa plains. The regiment sailed for New Guinea in April 1943 and carried out mobile defence to airfields at Port Moresby, Milne Bay, Dobadura and Popondetta. The regiment returned to Australia in February 1944 and disbanded as an armoured regiment and retrained as Nos 41, 42 and 43 Landing Craft Companies. They returned to the South West pacific serving at Bougainville, Balikpapan, Lae and Wewak.Good study showing men of an armoured regiment from Victoria marching in Melbourne.Framed photograph of soldiers in armoured corps uniform marching through Melbourne city street; crowds on both sides of the street.Below photo "2/8th Armoured Regiment march through Melbourne 17 - 10 - 1941"2/8th armoured regiment, melbourne

Pickering's Dairy was located on the south Side of High Street, Kew, between Charles Street and Highbury Grove. Kew was a major milk producing district in the Nineteenth and early Twentieth centuries, with three major dairy farms lining the Yarra between Studley Park in the west and Burke Road in the east. In addition to these dairy producers, there were also a number of accredited dairy retailers in the suburb. The largest and most enduring of these was the Model Dairy founded by the Kew pioneer James Venn Morgan. Milk bottles that include the name of the producer or retailer are historically significant as they represent a period in Kew's history before the mass production of milk in the second half of the Twentieth Century. A number of these named bottles have the additional attribute of rarity.Milk bottle - F.G. Pickering, Highbury Dairy, 344 High St., Kew. Pressed inscription: "This bottle contains MILK Bottled for Sale by F.G. Pickering, Highbury Dairy HAW5538, 344 High St., Kew. Bottle is the property of the above. It is loaned and cannot legally be used by others". Reverse: "One Imperial Pint". milk bottles, pickering's dairy (kew)

The Model Dairy was founded by the Kew pioneer, James Venn Morgan. The dairy had a number of different locations in Kew depending on the time period. Its final incarnation was on the north side of Cotham Road, between Ridgeway Avenue and Kent Street, Kew. The final factory was designed by the architects Bates, Smart and McCutcheon.Kew was a major milk producing district in the Nineteenth and early Twentieth centuries, with three major dairy farms lining the Yarra between Studley Park in the west and Burke Road in the east. In addition to these dairy producers, there were also a number of accredited dairy retailers in the suburb. The largest and most enduring of these was the Model Dairy founded by the Kew pioneer James Venn Morgan. Milk bottles that include the name of the producer or retailer are historically significant as they represent a period in Kew's history before the mass production of milk in the second half of the Twentieth Century. A number of these named bottles have the additional attribute of rarity.Milk bottle - Model Dairy Kew. Pressed inscription: "Model Dairy Ltd Kew." Reverse: " This bottle contains milk bottled for sale by Model Dairey Ltd and always remains their property. It is loaned & cannot legally be used by others. One Imperial Pint. This bottle differs from 1981.0010 in that it has two pressed rings on the neck of the bottle.milk bottles, model dairy (kew)

The Model Dairy was founded by the Kew pioneer, James Venn Morgan. The dairy had a number of different locations in Kew depending on the time period. Its final location was on the north side of Cotham Road, Kew between Ridgeway Avenue and Kent Street. Its final factory was designed by the architects Bates, Smart and McCutcheon.Kew was a major milk producing district in the Nineteenth and early Twentieth centuries, with three major dairy farms lining the Yarra between Studley Park in the west and Burke Road in the east. In addition to these dairy producers, there were also a number of accredited dairy retailers in the suburb. The largest and most enduring of these was the Model Dairy founded by the Kew pioneer James Venn Morgan. Milk bottles that include the name of the producer or retailer are historically significant as they represent a period in Kew's history before the mass production of milk in the second half of the Twentieth Century. A number of these named bottles have the additional attribute of rarity.Milk bottle - Model Dairy Kew. Pressed inscription: "Model Dairy Ltd Kew." Reverse: " This bottle contains milk bottled for sale by Model Dairey Ltd and always remains their property. It is loaned & cannot legally be used by others. One Imperial Pint. This bottle differs from 1981.0009 in that it does not have two pressed rings on the neck of the bottle.milk bottles, model dairy (kew)

During construction, commentators described the house as being in the ‘Elizabethan style’. The architectural style of the exterior, with its innovatory use of red brick and Italian tiles was more influenced by American models. Edward George Kilburn, of Ellerker & Kilburn, designed Byram for the industrialist George Ramsden in 1888.This is an original small photograph of this historic Kew mansion with provenance by descent from the first owners of the house.The main entrance to Tara Hall (previously named Byram, Goathland and Lowan). The entrance, through a porte-cochère, was located on the east side of the house. Inscription reverse: KH-323 Tara Hall once stood on Studley Pk Road on vast landscaped gardens. Donated by Mr Peter Ramsden, 49 Kamilaroy Road, West Pymble 2073 N.S.W. Dec.1979."byram, tara hall, lowan, goathland, edward g. kilburn (architect), george ramsden

Research provided by Stuart Tompkins Studio, Box Hill, into alternatives for median strip street lighting to be used in Burke Road, Kew. The photographers identified variants in different suburbs appropriate to Kew's needs.The series from which the photograph is drawn provides a snapshot by a commercial photographic studio of each named vicinity in 1965 as well as providing examples of public works infrastructure being commissioned by local government in the 1960s. The photos originally formed part of the Engineering Department's files in the City of Kew before being donated to the kew Historical Society.Electricity Supply Poles, North Road, Ormond, 1965. Electricity supply poles photographed for the Kew City Council by Stuart Tompkins Studio. The photograph of North Road, Ormond west of Jasper Road, looking east depicts wooden poles carrying two lamps in a median strip and with two on each side alternately. It was noted that the supply wires were from one side only. The poles were described as 3′ above ground and 11.25″ in diameter. The plan was to use this approach for Burke Road, Kew. [There are three copies of this photograph in the Collection.] Typed inscription on reverse: "Electricity Supply Poles. Photographed for Kew City Council 8/2/65. No.1 North Road - Ormond, west of Jasper Road, looking east. Wooden poles carrying two lamps in median strip and two on each side alternately just as is proposed for Burke Road, Kew. Supply wires from one side only. Poles 3' above ground 11 1/4" dia." Studio stamp: "Stuart Tompkins Studio. 547 Station Street, Box Hill. WX1439."stuart tompkins studio, street lighting, south road (moorabin) 1965, public infrastructure -- city of kew, city of kew -- engineer's department

Research provided by Stuart Tompkins Studio, Box Hill, into alternatives for median strip street lighting to be used in Burke Road, Kew. The photographers identified variants in different suburbs appropriate to Kew's needs.The series from which the photograph is drawn provides a snapshot by a commercial photographic studio of each named vicinity in 1965 as well as providing examples of public works infrastructure being commissioned by local government in the 1960s. The photos originally formed part of the Engineering Department's files in the City of Kew before being donated to the kew Historical Society.Electricity Supply Poles, North Road, Ormond, 1965. Electricity supply poles photographed for the Kew City Council by Stuart Tompkins Studio. The photograph of North Road, Ormond west of Jasper Road, looking east depicts wooden poles carrying two lamps in a median strip and with two on each side alternately. It was noted that the supply wires were from one side only. The poles were described as 3′ above ground and 11.25″ in diameter. The plan was to use this approach for Burke Road, Kew. [There are three copies of this photograph in the Collection.] Typed inscription on reverse: "Electricity Supply Poles. Photographed for Kew City Council 8/2/65. No.1 North Road - Ormond, west of Jasper Road, looking east. Wooden poles carrying two lamps in median strip and two on each side alternately just as is proposed for Burke Road, Kew. Supply wires from one side only. Poles 3' above ground 11 1/4" dia." Studio stamp: "Stuart Tompkins Studio. 547 Station Street, Box Hill. WX1439."stuart tompkins studio, street lighting, south road (moorabin) 1965

Research provided by Stuart Tompkins Studio, Box Hill, into alternatives for median strip street lighting to be used in Burke Road, Kew. The photographers identified variants in different suburbs appropriate to Kew's needs.The series from which the photograph is drawn provides a snapshot by a commercial photographic studio of each named vicinity in 1965 as well as providing examples of public works infrastructure being commissioned by local government in the 1960s. The photos originally formed part of the Engineering Department's files in the City of Kew before being donated to the kew Historical Society.Electricity Supply Poles, North Road, Ormond, 1965. Electricity supply poles photographed for the Kew City Council by Stuart Tompkins Studio. The photograph of North Road, Ormond west of Jasper Road, looking east depicts wooden poles carrying two lamps in a median strip and with two on each side alternately. It was noted that the supply wires were from one side only. The poles were described as 3′ above ground and 11.25″ in diameter. The plan was to use this approach for Burke Road, Kew. [There are three copies of this photograph in the Collection.] Typed inscription on reverse: "Electricity Supply Poles. Photographed for Kew City Council 8/2/65. No.1 North Road - Ormond, west of Jasper Road, looking east. Wooden poles carrying two lamps in median strip and two on each side alternately just as is proposed for Burke Road, Kew. Supply wires from one side only. Poles 3' above ground 11 1/4" dia." Studio stamp: "Stuart Tompkins Studio. 547 Station Street, Box Hill. WX1439."stuart tompkins studio, street lighting, south road (moorabin) 1965

Flooding of the Yarra Valley, including that section of the Yarra bordering Kew and Kew East in the north and west of the municipality, was a regular occurrence. Extreme flood events of the Yarra River are recorded to have occurred in 1891, 1901, 1916, 1923 and 1934. The Municipality of Kew's response to these floods was to enact planning decisions restricting residential development in flood prone areas following the floods of 1916, 1921 and 1934. While floods continued after the development of the Upper Yarra Reservoir (construction 1948-57), the regularity and extent of these inundations diminished. During the nineteenth century, the land abutting the south side of the Yarra in Kew was devoted to dairy farming. In the twentieth century, before and after the construction of the Eastern Freeway, much of this low-lying area was used as golf courses and public parks.One of a collection of photographs of flooding in the Kew section of the Yarra Valley which are in important research resource for the location and extent of flooding in the first half of the twentieth century. Flooding of the Yarra Valley at East Kew in 1916. The view is taken from the intersection of Kilby Road with what is believed to be Birdwood Street, looking across the flood waters to Ivanhoe. The extensive flooded area shown in the photograph would have included the Kew Golf Club. Verso: "Floods along Kilby Road / near Birdwood St? & Kilby Road / 1917? / 87yarra river, yarra valley, floods -- kew, kilby road -- kew (vic.), kew golf club

Flooding of the Yarra Valley, including that section of the Yarra bordering Kew and Kew East in the north and west of the municipality, was a regular occurrence. Extreme flood events of the Yarra River are recorded to have occurred in 1891, 1901, 1916, 1923 and 1934. The Municipality of Kew's response to these floods was to enact planning decisions restricting residential development in flood prone areas following the floods of 1916, 1921 and 1934. While floods continued after the development of the Upper Yarra Reservoir (construction 1948-57), the regularity and extent of these inundations diminished. During the nineteenth century, the land abutting the south side of the Yarra in Kew was devoted to dairy farming. In the twentieth century, before and after the construction of the Eastern Freeway, much of this low-lying area was used as golf courses and public parks.One of a collection of photographs of flooding in the Kew section of the Yarra Valley which are in important research resource for the location and extent of flooding in the first half of the twentieth century. Flooding of the Yarra Valley at East Kew in 1916. The view is taken from a street (maybe Birdwood Avenue) intersecting with Kilby Road looking northeast across the flood waters to Ivanhoe and Heidelberg. The extensive flooded area shown in the photograph would have included remnant dairy farms and the Kew Golf Club. Verso: "Floods / Yarra River / East Kew / Kilby Road / 1917? / 87"yarra river, yarra valley, floods -- kew, kilby road -- kew (vic.), kew golf club

Dorothy Rogers wrote two major books on Kew's history: Lovely Old Homes of Kew (1961) and A History of Kew (1973). In addition to her published works, she was a regular contributor on issues of local history to suburban newspapers. Her archives are held in the collections of the State Library of Victoria and Kew Historical Society. Three years after her death in 1973, the Reserve was opened in her honour.Faded colour positive photograph of the opening of the Dorothy Rogers Reserve in 1976. The naming of the reserve honoured the contribution of the historian Dorothy Rogers, foundation member of the Society. The reserve is located on the north side of Studley Park Road just west of Kew Junction. Inscribed verso: "Members and relatives of the late Dorothy Rogers. Memorial reserve named and unveiled in her honour by (Cr Whiting Mayor) and City Manager Mr Fell 1978. In respect for her great research and service to the history of early Kew, and other places."dorothy rogers reserve, public parks -- kew (vic.)