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 60 photographs that comprise the series were 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.‘Mount St. George, Addis Bay’ : Views of Victoria (General Series) No.56 : Albumen silver photograph | Photo on card with Title and Description on reverse | Mounted 24 x 30 cm; Photo 12 x 17 cm.On Reverse: ‘Addis Bay is situated to the north-east of Appollo Bay, and very near Cape Patten. This mountain is 6,000 feet high, and commands one of the finest views on the Cape Otway Ranges. The ascent is a somewhat difficult one, but visitors to this locality not unfrequently make this a favourite outing.’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 60 photographs that comprise the series were 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.‘View of the township of Golden Square’ : Views of Victoria (General Series) No.57 : Albumen silver photograph | Photo on card with Title and Description on reverse | Mounted 24 x 30 cm; Photo 12 x 17 cm.On Reverse: ‘This Township is situated in the Bendigo district, on the road to Castlemaine, and although it is of little importance as a business town, is nevertheless of large importance in consequence of the great number of Quartz Reefs it contains. Almost every house is undermined, and large fortunes have been made by the proprietors. The Church in the distance is that of the Wesleyan body. It was in this township that gold was first discovered in the district of Bendigo.’nicholas caire (1837-1918), golden square (vic), bendigo (vic), gold mining, landscape photography - victoria

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 60 photographs that comprise the series were 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.‘The boulders on the Erskine River’ : Views of Victoria (General Series) No.58 : Albumen silver photograph | Photo on card with Title and Description on reverse | Mounted 24 x 30 cm; Photo 12 x 17 cm.On Reverse: ‘For a distance of several miles this river runs its course over a granite bed, and is interrupted frequently by immense Boulders, which causes the stream to be broken up into rivulets, pools, rapids, falls, cataracts, &c. Many of these massive blocks of granite weigh from 40 to 50 tons. In the mid-distance of the present illustration, several of these great blocks can be seen obstructing the river in its course.’nicholas caire (1837-1918), erskine river, lorne (vic), landscape photography - victoria

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 60 photographs that comprise the series were 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.‘Township of Lorne, and Loutitt Bay’ : Views of Victoria (General Series) No.60 : Albumen silver photograph | Photo on card with Title and Description on reverse | Mounted 24 x 30 cm; Photo 12 x 17 cm.On Reverse: ‘Loutitt Bay is fast becoming one of the most fashionable Watering-places in Victoria, partly from its easy access by Rail, combined with the magnificent scenery to be found in the Cape Otway Ranges, and the very moderate charges of the houses of accommodation. The large house near the foreground is that of Mr. Mountjoy, which is a Restaurant. Duncan’s Hotel can be seen in the distance, on the brow of the hill.’nicholas caire (1837-1918), lorne (vic), duncan's hotel, loutitt bay, landscape photography - victoria

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 60 photographs that comprise the series were 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.‘Cumberland Creek, near Point Sturt’ : Views of Victoria (General Series) No.59 : Albumen silver photograph | Photo on card with Title and Description on reverse | Mounted 24 x 30 cm; Photo 12 x 17 cm.On Reverse: ‘The Cumberland Creek is so named from the close resemblance it bears to the place bearing that name in the mother country. The present illustration represents the precipices and hills which surround the Cumberland Creek. The soil around the hills is mostly sandstone rubble, hence the only vegetation identical with the spot is the inevitable sword grass and salt scrub, which frequently exist where no other vegetation can be found.’nicholas caire (1837-1918), landscape photography

Rate Book evidence records that by 1870 Charles Vickers, architect, was the occupier of this house, having an NA.V. at that date o f£1105, although it is apparent that the house was in fact built by 1864, from the dat; set in the brickwork above the main door. In 1873 the property was purchased by David Beath, a merchant, and it was in the following year that the house was first recorded as 'Ivy Grange'. Beath was a deeply religious man and was a foundation member of both the Congregational and the Presbyterian (the Church of Scotland) Churches of Kew . He added, probably the tower wing, to the house in 1877 when architects Crouch and Wilson called tenders in that year 'for the erection of bluestone additions to (a) villa at Kew, for Davis Beath Esq.' The house was again added to in 1885 by the leading firm Reed, Henderson and Smart. For a number of years in the 1920s 'Ivy Grange' was used as a private mental hospital and is currently a guest house. In 1921 a fete was held at Ivy Grange in aid of building a new church (Sacred Heart, Kew): "Garden Fete in Aid of New Church, Kew. A SUCCESSFUL FUNCTION. Beautiful weather favoured the opening of a garden fete at "Ivy Grange," the residence of Mr. and Mrs. J. Lawlor, Malmsbury and Princess streets, Kew, on last Saturday afternoon, in aid of the fine new Church of the Sacred Heart, Kew, which is now receiving its finishing touches. Not content to wait for the official opening, the lady stallholders did a good business on the previous evening. The ceremony was performed" by the Very Rev. Dean Hegarty, P.P., V.F. (Carlton), with whom were associated the Rev. J. Manly, P.P. (Kew), and the Rev. R. S. Benson, P.P. (South Yarra), Mr. and Mrs. J. Lawlor, and others. Fr. Manly, who was cordially received, said he desired to thank Mr. and Mrs. Lawlor for lending their charming grounds, and for the trouble, time and expense they had given to preparing for the fete. He wished to thank Dean Hegarty for coming to open the fete. The Dean had been a dear and lifelong friend of the late Fr. O'Donoghoe, the beloved pastor of the Kew parish. Next June the Dean would celebrate the golden jubilee of his priesthood, so they could see that he was not a young man. (Laughter.) He hoped that the fete would be a great success, and that when his Grace the Archbishop —: (applause) — should open the new church, he (the speaker) would be able to present a satisfactory financial statement. (Applause.) Dean Hegarty, who was very cordially received, said it was a source of great pleasure to him to come to Kew, of which he entertained many pleasant recollections. The new church would have delighted the heart of their late beloved pastor, but it had pleased God to take him to a holler temple. His mantle had fallen on worthy shoulders, in the person of Fr. Manly—(applause)—who was carrying on the work of the parish well and vigorously. (Applause.) Some wondered how these great works were successfully accomplished. The prime factor in the wonderful progress of the Church— the work of the people, priests and nuns—was their deep, abiding Catholic faith. (Applause.) Kew was not by any means a large parish, yet look at the magnificent church that Fr. Manly was building on the hill! He said to his people, "Come, follow me, and we shall win through." (Applause.) It gave him great pleasure to declare the fete open, and he wished it the highest measure of success. (Prolonged applause.) Mr. J. Lawlor, who was greeted with applause, in moving a hearty vote of thanks to Dean Hegarty for his presence and support, said he knew of the great work done by the Dean in Gippsland, where he (the speaker) lived when a young man. The Dean ministered to a parish at that time as large as was the diocese of Sale to-day. The Dean and Fr. Manly reflected credit on the pioneer priests, who had laid well and solidly the foundations, of religion in Victoria. (Applause.) He was glad that reference had been~made to the work of their late beloved pastor, Fr. O'Donoghoe. : Mr. Pierce Cody seconded the motion, which, was carried by acclamation. The Dean,* in acknowledging the compliment, paid a tribute to Mr. and Mrs. Lawlor for their great generosity in connection with the fete, and complimented them on their successful efforts. (Applause.). A cafe chantant, organised by Mr. John. Sullivan, was contributed to by Misses G. Hornal, M. O'Donnell, Ella Burke, Eileen Burke, Alice Marsh, and M. Carrucan, and Messrs. T. Hammond, J. Donovan, J. Sullivan, and Fr. Lanigan. Mrs. J. Donovan was at the piano. St. Vincent de Paul Boys' Orphanage Band (South Melbourne) rendered selections. The stalls ware as follow:—Cake and Sweets Stall: Mesdames Needham, Treacey, Lynch and Cody. Fancy Stall: Mesdames Lawlor, J. P. Martin, M. Treacey, Simpson, Giddons and A. Molton, and Miss, Shirley. Refrestiment Stall: Mesdames Shiels, Hunter, Kealy, Duane and the Misses Turner and Delahunty; Produce Stall: Mesdames O'Sullivan, Mareli, Carrucan, and Kennedy. Mr. P. J. Kennedy acted as hon. general secretary. The fete was continued in the evening, the grounds being brilliantly illuminated. (Advocate (Melbourne, Vic. : 1868 - 1954), Thursday 7 April 1921, page 13) In 1930 it was acquired by the Carmelite Fathers for use as a novitiate: "IVY GRANGE," KEW." Acquired for Carmelite Novitiate. The valuable property, "Ivy Grange," Kew. which" belonged to the McGuiness family has been acquired by the Carmelite Fathers for a novitiate." (Advocate (Melbourne, Vic. : 1868 - 1954), Thursday 18 September 1930, page 18This work forms part of the collection assembled by the historian Dorothy Rogers, that was donated to the Kew Historical Society by her son John Rogers in 2015. The manuscripts, photographs, maps, and documents were sourced by her from both family and local collections or produced as references for her print publications. Many were directly used by Rogers in writing ‘Lovely Old Homes of Kew’ (1961) and 'A History of Kew' (1973), or the numerous articles on local history that she produced for suburban newspapers. Most of the photographs in the collection include detailed annotations in her hand. The Rogers Collection provides a comprehensive insight into the working habits of a historian in the 1960s and 1970s. Together it forms the largest privately-donated collection within the archives of the Kew Historical Society.Ivy Grange, cnr Malmsbury and Princess Streets, Kew. Ivy Grange. Home of David Beath. Commenced 1864, Tower Wing added 1877. Chap 38.ivy grange, malmsbury street, dorothy rogers, david beath, charles vickers, crouch and wilson, kew houses

Kew Tapestry The eight panels depict the history of Kew. This was a 1988 Australian Bi-Centennial Project carried out under the auspices of City of Kew Council and the Kew Historical Society Incorporated. Nearly 600 citizens including many children participated in the production by adding a few or more stitches. A book records their names and the panels upon which they worked. Artist: Joy Stewart Co-ordinator: Dorothy BenyeiSydney Joy (Joy) Stewart was born in Melbourne 1925. She studied at Swinburne Technical College Art School from 1941-1945, then the National Gallery Art School 1946-1948. Her career included employment positions as a display artist, designer/painter, gallery assistant, and art teacher. Joy relocated to Cairns in 1981. Solo exhibitions in Melbourne and Cairns, including 'Done By Me' at Cairns Regional Gallery in 1999. Group exhibitions at Cairns Regional Gallery, 'The Fish John West Regrets, 1993' and 'Facets of Life' 1994. Joy Stewart died in Cairns in 2018.4. Boroondara Cemetery, established 1859. A Handcoloured cartoon created by the artist Joy Stewart as a template for the fourth of a series of embroidered panels depicting the history of Kew. Wool colour codes at left. Inscription: "BOROONDARA CEMETERY, Established 1859. Horse drawn trams from Victoria Bridge terminated at gates bringing visitors to graves of relatives and friends; and sightseers to view the impressive pioneer memorials". Signed by the artist "(c) JStewart, 1988". bicentennial project (kew), boroondara general (kew) cemetery

The 20th Light Horse (Victorian Mounted Rifles) was raised in 1920 as part of the 3rd Cavalry Brigade, 2nd Cavalry Division, Citizen Military Forces, with Headquarters at Seymour and depots along the Goulburn Valley from Mansfield to Tocumwal in southern NSW. In December 1941, 20th Light Horse (Victorian Mounted Rifles) converted from horse to mechanised, initially as 20th Motor Regiment. In 1943 redesignated 20th Pioneer Battalion and deployed to Merauke, Dutch New Guinea. The regiment was disbanded at the end of the war, 1945. 20th Light horse was the only light horse unit to serve overseas in WWII.This is one of a collection of pewters presented by officers of a Light Horse regiment drawn from rural and regional Victoria in the period between the World Wars.Silver plated mug with handle and inscribed on side."20th Light Horse Regiment / Presented by / Lieut R G Pryor 16-10-39"pryor rg lieutenant, 20th light horse, engravings, presentations, mugs, light horse regiment, wwii, world war two, second world war, pre-war militia

The 20th Light Horse (Victorian Mounted Rifles) was raised in 1920 as part of the 3rd Cavalry Brigade, 2nd Cavalry Division, Citizen Military Forces, with Headquarters at Seymour and depots along the Goulburn Valley from Mansfield to Tocumwal in southern NSW. In December 1941, 20th Light Horse (Victorian Mounted Rifles) converted from horse to mechanised initially as 20th Motor Regiment. In 1943 redesignated 20th Pioneer Battalion and deployed to Merauke, Dutch New Guinea. The regiment was disbanded at the end of the war, 1945. 20th Light horse was the only light horse unit to serve overseas in WWII. This is one of a collection of pewters presented by officers of a Light Horse regiment drawn from rural and regional Victoria in the period between the World Wars.Silver plated mug with handle and inscribed on side.20th Australian Light Horse Officer's Mess. Presented by Captain E.R. Dibbs20th, mess, officer, dibbs, light horse

The 20th Light Horse (Victorian Mounted Rifles) was raised in 1920 as part of the 3rd Cavalry Brigade, 2nd Cavalry Division, Citizen Military Forces, with Headquarters at Seymour and depots along the Goulburn Valley from Mansfield to Tocumwal in southern NSW. In December 1941, 20th Light Horse (Victorian Mounted Rifles) converted from horse to mechanised, initially as 20th Motor Regiment. In 1943 redesignated 20th Pioneer Battalion and deployed to Merauke, Dutch New Guinea. The regiment was disbanded at the end of the war, 1945. 20th Light horse was the only light horse unit to serve overseas in WWII. This is one of a collection of pewters presented by officers of a Light Horse regiment drawn from rural and regional Victoria in the period between the World Wars.Silver plated mug with handle and inscribed on side.20th Australian Light Horse Officer's Mess. Presented by Lieutenant J.T.Drake20th light horse, officers' mess, drake j t lieutenant

The 20th Light Horse (Victorian Mounted Rifles) was raised in 1920 as part of the 3rd Cavalry Brigade, 2nd Cavalry Division, Citizen Military Forces, with Headquarters at Seymour and depots along the Goulburn Valley from Mansfield to Tocumwal in southern NSW. In December 1941, 20th Light Horse (Victorian Mounted Rifles) converted from horse to mechanised, initially as 20th Motor Regiment. In 1943 redesignated 20th Pioneer Battalion and deployed to Merauke, Dutch New Guinea. The regiment was disbanded at the end of the war, 1945. 20th Light horse was the only light horse unit to serve overseas in WWII. This is one of a collection of mugs presented by officers of a Light Horse regiment drawn from rural and regional Victoria in the period between the World Wars.Silver plated mug with handle and inscribed on side.20th Australian Light Horse Officers' Mess. Presented by Lieutenant J.S. Christiechristie, mess, 20th, light horse

The 20th Light Horse (Victorian Mounted Rifles) was raised in 1920 as part of the 3rd Cavalry Brigade, 2nd Cavalry Division, Citizen Military Forces, with Headquarters at Seymour and depots along the Goulburn Valley from Mansfield to Tocumwal in southern NSW. In December 1941, 20th Light Horse (Victorian Mounted Rifles) converted from horse to mechanised, initially as 20th Motor Regiment. In 1943 redesignated 20th Pioneer Battalion and deployed to Merauke, Dutch New Guinea. The regiment was disbanded at the end of the war, 1945. 20th Light horse was the only light horse unit to serve overseas in WWII. This is one of a collection of mugs presented by Officers of a Light Horse Regiment drawn from rural and regional Victoria in the period between the World Wars.Silver plated mug with handle and inscribed on side" 20th Australian Light Horse Officers Mess. Presented by Lieutenant S.W. Ross" and on base "Rigert EPNS A1 " 10 "ross, 20th, light horse, mess

The 20th Light Horse (Victorian Mounted Rifles) was raised in 1920 as part of the 3rd Cavalry Brigade, 2nd Cavalry Division, Citizen Military Forces, with Headquarters at Seymour and depots along the Goulburn Valley from Mansfield to Tocumwal in southern NSW. In December 1941, 20th Light Horse (Victorian Mounted Rifles) converted from horse to mechanised, initially as 20th Motor Regiment. In 1943 redesignated 20th Pioneer Battalion and deployed to Merauke, Dutch New Guinea. The regiment was disbanded at the end of the war, 1945. 20th Light horse was the only light horse unit to serve overseas in WWII. This is one of a collection of mugs presented bt Officers of a Light Horse regiment drawn from rural and regional Victoria in the period between the World Wars.Silver plated mug with handle and inscribed on side" 20th Australian light Horse Officer's Mess. Presented by Lieut A.W. Tanner 1936" and on base " Rigert EPNSAI 10 "20th, light horse, tanner, mess

The 20th Light Horse (Victorian Mounted Rifles) was raised in 1920 as part of the 3rd Cavalry Brigade, 2nd Cavalry Division, Citizen Military Forces, with Headquarters at Seymour and depots along the Goulburn Valley from Mansfield to Tocumwal in southern NSW. In December 1941, 20th Light Horse (Victorian Mounted Rifles) converted from horse to mechanised, initially as 20th Motor Regiment. In 1943 redesignated 20th Pioneer Battalion and deployed to Merauke, Dutch New Guinea. The regiment was disbanded at the end of the war, 1945. 20th Light horse was the only light horse unit to serve overseas in WWII. This is one of a collection of mugs presented by Officers of a Light Horse regiment drawn from rural and regional Victoria in the period between the World WarsSilver plated mug with handle and inscribed on side"20th Australian Light HorseOfficer's Mess. Presented by Lieutenant G.A. Bryant", and on base "Rigert EPNSAI 10"bryant, mess, 20th, light horse

The 20th Light Horse (Victorian Mounted Rifles) was raised in 1920 as part of the 3rd Cavalry Brigade, 2nd Cavalry Division, Citizen Military Forces, with Headquarters at Seymour and depots along the Goulburn Valley from Mansfield to Tocumwal in southern NSW. In December 1941, 20th Light Horse (Victorian Mounted Rifles) converted from horse to mechanised, initially as 20th Motor Regiment. In 1943 redesignated 20th Pioneer Battalion and deployed to Merauke, Dutch New Guinea. The regiment was disbanded at the end of the war, 1945. 20th Light horse was the only light horse unit to serve overseas in WWII. .This is one of a collection of mugs presented by officers of a Light Horse regiment drawn from rural and regional Victoria in the period between the World Wars.Silver plated mug with handle and inscribed on side."20th Australian Light Horse Officer's Mess. Presented by Lieutenant G. McC. Fairley"; and on base "Rigert EPNSAI 10"20th light horse, fairley g mcc lieutenant, officers' mess

Milk Bottles Recovery Ltd began production in Melbourne in 1930. Its head office was located at 48 Market Street, Melbourne. It supplied milk bottles to dairies throughout metropolitan Melbourne, and possibly Victoria. It ended production in the 1950s. Smaller Kew dairies without their own named bottles, would have sourced bottles from a statewide provider such as Milk Bottles Recovery Ltd.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 - Milk Bottles Recovery Ltd. Pressed inscription: "Milk. One Pint. This bottle belongs to Milk Bottles Recovery Ltd and cannot be used with out written permission. milk bottles, milk bottles recovery ltd

This King George III 1797 penny, colloquially described as a ‘Cartwheel’ because of its large size and thick rim, was manufactured in Great Britain from 1797-99. The penny and the twopence were the first coins shipped to New South Wales by the British Government. In 1800, Governor King issued a proclamation that forbade their export. This coin is one of the 132,000 coins sent to Australia in 1800. It is not uncommon to find cartwheel pennies used as containers. They were reputedly used to conceal a more valuable coin or for smuggling. The penny was purchased by the Society as part of a small collection of Henty memorabilia and portraits from the owner of Moorabool Antiques, Geelong in 2021, which had in turn acquired the item from the estate of Dennis Alston of Alston's Antiques in Hamilton, Victoria.This cartwheel penny, used to contain a lock of hair of Thomas Henty (1775-1838), is of statewide significance to Tasmania, where he settled and died, and to Victoria, where his children and their descendants were notable pioneers, squatters and subsequently landowners in the Western District. The item is also of national significance for its strong connection to the Henty family, notable British settlers of southeastern and southwestern Australia in the 1830s. The connection to Kew (Vic.) is that members of the Henty family owned important mansions in Kew in the 19th century. Thomas Henty was the father of Stephen George Henty of 'Findon', and Francis Henty of 'Merino Downs' in the Western District and 'Field Place', Kew. Numerous members of the Henty family are buried in the Boroondara General Cemetery.Object of personal memorabilia. Coiled and bound lock of hair of Thomas Henty contained in a hollowed-out copper 'cartwheel' penny.OBVERSE: Georgius III . D : G . REX / REVERSE: Britannia 1797 / SELLER'S LABEL: Lock of hair from the late Thomas Henty, born 1775thomas henty, henty family, launceston, west tarring -- sussex (uk), tasmanian pioneers, australia - early settlers, cartwheel pennies

Henry Christian (c.1809-91) was one of the first settlers in Kew. He arrived in Victoria with his wife Agnes and son Orlando in 1855 on the Gypsy Queen. He established a rope-making business in Bulleen Road by 1858 but was declared insolvent two years later. In his final years, he was celebrated as one of the oldest living settlers of the district. His son, Orlando Henry Beater Christian (c.1853-1930) became a member of the Hawthorn Band and a foundation member of the Willsmere Swimming Club. Orlando and his wife Elizabeth had four children: Henry Beater (1886-1962), Ada Susannah May (1888-1962), Orlando Julius (1891-1917) and Lilian Adelaide ( -1956). Ada married George Herrick Washfold, and had four children: Lilian Mavis, Orlando George Barnard, William Edwin and Henry Clifford (the husband of the donor).An item from an outstanding and diverse photographic collection, assembled by members of the Christian family of Pakington Street, Kew, comprising professional and amateur photography, depicting individuals, natural and settled environments and the interactions between these worlds. Many of the photographs vividly capture the worlds of three generations of men - Henry Christian, his son Orlando Henry Beater Christian, and his grandson of Henry Christian. The most important photographer was the youngest, Henry Christian, who was a keen explorer, not just of his immediate environment but also of the Victorian wilderness. His major opus is contained in two albums in which he records, sometimes in majestic detail and on other occasions the intimate features of the natural world. His photographic travels during the 1920s, often in solitary ramblings but on other occasions with companions, recall the heroic landscape photography of an earlier era, pioneered by Nicholas Caire. In addition to their aesthetic value, the albums are historically significant records within the State of Victoria, of what is now a distant point in time, and of places that have become radically altered through human intervention. Photographic positive on mounting board. The image depicts a woman and three young children in a buggy drawn by a donkey. The road on which they pause is surrounded by fenced and cleared farmland, stretching away to the distant hills. It is presumed that the subject of the photo is Elizabeth Christian (nee Schoberg) and three of her four children. The photographer may have been her husband, Orlando Henry Beater Christian.christian family, washfold family, kew pioneers, christian-washfold collection

Henry Christian (c.1809-91), the grandfather of the photographer, was one of the first settlers in Kew. He arrived in Victoria with his wife Agnes and son Orlando in 1855 on the Gypsy Queen. He established a rope-making business in Bulleen Road by 1858 but was declared insolvent two years later. In his final years, he was celebrated as one of the oldest living settlers of the district. His son, Orlando Henry Beater Christian (c.1853-1930) became a member of the Hawthorn Band and a foundation member of the Willsmere Swimming Club. Orlando and his wife Elizabeth had four children of which Henry Beater Christian (1886-1962) was the eldest.An item from an outstanding and diverse photographic collection, assembled by members of the Christian family of Pakington Street, Kew, comprising professional and amateur photography, depicting individuals, natural and settled environments and the interactions between these worlds. Many of the photographs vividly capture the worlds of three generations of men - Henry Christian, his son Orlando Henry Beater Christian, and his grandson of Henry Christian. The most important photographer was the youngest, Henry Christian, who was a keen explorer, not just of his immediate environment but also of the Victorian wilderness. His major opus is contained in two albums in which he records, sometimes in majestic detail and on other occasions the intimate features of the natural world. His photographic travels during the 1920s, often in solitary ramblings but on other occasions with companions, recall the heroic landscape photography of an earlier era, pioneered by Nicholas Caire. In addition to their aesthetic value, the albums are historically significant records within the State of Victoria, of what is now a distant point in time, and of places that have become radically altered through human intervention.Black and white photo of the rear view of a man in a hat standing under a tree on a hill looking across the Yarra River (unseen) towards Melbourne. The exhibition building and the spires of St Patrick’s Cathedral can be seen on the skyline. The man may be Orlando Henry Beater Christian. If all the spires are intact it must postdate 1939 when work begun in the early 1930s on the spires began. He may be standing on the edge of the Yarra Boulevard.melbourne skyline - 1930s, yarra boulevard -- kew (vic.), christian-washfold collection

Henry Christian (c.1809-91), the grandfather of the photographer, was one of the first settlers in Kew. He arrived in Victoria with his wife Agnes and son Orlando in 1855 on the Gypsy Queen. He established a rope-making business in Bulleen Road by 1858 but was declared insolvent two years later. In his final years, he was celebrated as one of the oldest living settlers of the district. His son, Orlando Henry Beater Christian (c.1853-1930) became a member of the Hawthorn Band and a foundation member of the Willsmere Swimming Club. Orlando and his wife Elizabeth had four children of which Henry Beater Christian (1886-1962) was the eldest.A photograph by Henry Beater Christian (1886-1962) of Pakington Street, Kew. Henry Beater Christian, was a keen explorer, not just of his immediate environment but also of the Victorian wilderness. His major opus is contained in two albums in which he records, sometimes in majestic detail and on other occasions the intimate features of the natural world. His photographic travels during the 1920s, often in solitary ramblings but on other occasions with companions, recall the heroic landscape photography of an earlier era, pioneered by Nicholas Caire. In addition to their aesthetic value, the albums are historically significant records within the State of Victoria, of what is now a distant point in time, and of places that have become radically altered through human intervention.Sepia 'real photo' postcard of Orlando Henry Beater Christian, fishing in the Yarra River. There appear to be cattle in paddocks on the other side of the river. Fairfield (sic) is on the horizon."Henry Beater's photograph of his father Orlando Henry Beater Christian whilst fishing in the River Yarra, Kew"yarra river -- kew (vic.), orlando beater christian, christian-washfold collection

Henry Christian (c.1809-91), the grandfather of the photographer, was one of the first settlers in Kew. He arrived in Victoria with his wife Agnes and son Orlando in 1855 on the Gypsy Queen. He established a rope-making business in Bulleen Road by 1858 but was declared insolvent two years later. In his final years, he was celebrated as one of the oldest living settlers of the district. His son, Orlando Henry Beater Christian (c.1853-1930) became a member of the Hawthorn Band and a foundation member of the Willsmere Swimming Club. Orlando and his wife Elizabeth had four children of which Henry Beater Christian (1886-1962) was the eldest.An item from an outstanding and diverse photographic collection, assembled by members of the Christian family of Pakington Street, Kew, comprising professional and amateur photography, depicting individuals, natural and settled environments and the interactions between these worlds. Many of the photographs vividly capture the worlds of three generations of men - Henry Christian, his son Orlando Henry Beater Christian, and his grandson of Henry Christian. The most important photographer was the youngest, Henry Christian, who was a keen explorer, not just of his immediate environment but also of the Victorian wilderness. His major opus is contained in two albums in which he records, sometimes in majestic detail and on other occasions the intimate features of the natural world. His photographic travels during the 1920s, often in solitary ramblings but on other occasions with companions, recall the heroic landscape photography of an earlier era, pioneered by Nicholas Caire. In addition to their aesthetic value, the albums are historically significant records within the State of Victoria, of what is now a distant point in time, and of places that have become radically altered through human intervention.Sepia photograph of the entrance gates to the Kew Asylum. Located in Princess Street, these gates were relocated to Victoria Park in the 1930s/40s. There is a shelter to the left of the gates. A horse-drawn covered carriage is exiting through the gates. An electric light is hung from a metal bar in the centre of the gates. The two-storey gate house on the right of the gates is outside the view of the photograph.kew lunatic asylum, kew lunatic asylum -- gates, henry beater christian, christian-washfold collection

An item from an outstanding and diverse photographic collection, assembled by members of the Christian family of Pakington Street, Kew, comprising professional and amateur photography, depicting individuals, natural and settled environments and the interactions between these worlds. Many of the photographs vividly capture the worlds of three generations of men - Henry Christian, his son Orlando Henry Beater Christian, and his grandson of Henry Beater Christian. The most important photographer was the youngest, Henry Christian, who was a keen explorer, not just of his immediate environment but also of the Victorian wilderness. His major opus is contained in two albums in which he records, sometimes in majestic detail and on other occasions the intimate features of the natural world. His photographic travels during the 1920s, often in solitary ramblings but on other occasions with companions, recall the heroic landscape photography of an earlier era, pioneered by Nicholas Caire. In addition to their aesthetic value, the albums are historically significant records within the State of Victoria, of what is now a distant point in time, and of places that have become radically altered through human intervention.Sepia photograph of the wooden trestle Zig-Zag Bridge across the River Yarra. The bridge was built in the 1870s to transport stone from the west side of the Yarra to the east side. The stone was used in the construction of the Kew Asylum. The bridge continued to link the two asylums on each side of the river. yarra river -- kew (vic), zig-zag bridge -- kew (vic.), henry beater christian, christian-washfold collection

Henry Christian (c.1809-91) was one of the first settlers in Kew. He arrived in Victoria with his wife Agnes and son Orlando in 1855 on the Gypsy Queen. He established a rope-making business in Bulleen Road by 1858 but was declared insolvent two years later. In his final years, he was celebrated as one of the oldest living settlers of the district. His son, Orlando Henry Beater Christian (c.1853-1930) became a member of the Hawthorn Band and a foundation member of the Willsmere Swimming Club. Orlando and his wife Elizabeth had four children: Henry Beater (1886-1962), Ada Susannah May (1888-1962), Orlando Julius (1891-1917) and Lilian Adelaide ( -1956).An item from an outstanding and diverse photographic collection, assembled by members of the Christian family of Pakington Street, Kew, comprising professional and amateur photography, depicting individuals, natural and settled environments and the interactions between these worlds. Many of the photographs vividly capture the worlds of three generations of men - Henry Christian, his son Orlando Henry Beater Christian, and his grandson of Henry Christian. The most important photographer was the youngest, Henry Christian, who was a keen explorer, not just of his immediate environment but also of the Victorian wilderness. His major opus is contained in two albums in which he records, sometimes in majestic detail and on other occasions the intimate features of the natural world. His photographic travels during the 1920s, often in solitary ramblings but on other occasions with companions, recall the heroic landscape photography of an earlier era, pioneered by Nicholas Caire. In addition to their aesthetic value, the albums are historically significant records within the State of Victoria, of what is now a distant point in time, and of places that have become radically altered through human intervention.Small sepia Kodak postcard of the Township of Walhalla, probably taken by the Kew photographer, Henry Christian. henry christian (1886-1962), landscape photography, walhalla -- victoria, christian-washfold collection

Henry Christian (c.1809-91), the grandfather of the photographer, was one of the first settlers in Kew. He arrived in Victoria with his wife Agnes and son Orlando in 1855 on the Gypsy Queen. He established a rope-making business in Bulleen Road by 1858 but was declared insolvent two years later. In his final years, he was celebrated as one of the oldest living settlers of the district. His son, Orlando Henry Beater Christian (c.1853-1930) became a member of the Hawthorn Band and a foundation member of the Willsmere Swimming Club. Orlando and his wife Elizabeth had four children of which Henry Beater Christian (1886-1962) was the oldest.An album of photographs, compiled by Henry Beater Christian (1886-1962) of Pakington Street, Kew, depicting individuals, natural and settled environments and the interactions between these worlds. Henry Christian, was a keen explorer, not just of his immediate environment but also of the Victorian wilderness. His major opus is contained in two albums in which he records, sometimes in majestic detail and on other occasions the intimate features of the natural world. His photographic travels during the 1920s, often in solitary ramblings but on other occasions with companions, recall the heroic landscape photography of an earlier era, pioneered by Nicholas Caire. In addition to their aesthetic value, the albums are historically significant records within the State of Victoria, of what is now a distant point in time, and of places that have become radically altered through human intervention.Digital copy of a 47-page photograph album containing 255 gelatinous silver images, loaned by Diane Washfold with permission given to digitise and hold a copy in our collection. The album contains a groups of photographic positives taken by Henry B Christian (a resident of Pakington Street), of places in Kew and throughout regional Victoria during the 1920s. The mainly sepia photographs, while small, are of a high resolution. Photographs are typically lightly glued onto pages. Locations are frequently identified by white or black ink, which in a number of cases is illegible due to wear.henry beater christian (1886-1962), landscape photography, photograph albums, kew (vic.) — yarra river, kew (vic.) — zig-zag bridge, kew (vic.) — macauley’s boathouse, studley park (vic.) — yarra river, wonderland — grampians (vic.), black spur (vic.), marysville (vic.), maroondah dam (vic.) — construction, warburton (vic.), cockatoo (vic.), bruthen (vic.), swan reach road (vic.), glen hills (vic.), lightning creek (vic.), omeo (vic.), glen wills (vic.), mt wills (vic.), sunnyside (vic), granite flat (vic.), toolangi (vic.), yea (vic, )., flowerdale (vic.), mt white law (vic.), baw baw (vic.), christian-washfold collection

Henry Christian (c.1809-91), the grandfather of the photographer, was one of the first settlers in Kew. He arrived in Victoria with his wife Agnes and son Orlando in 1855 on the Gypsy Queen. He established a rope-making business in Bulleen Road by 1858 but was declared insolvent two years later. In his final years, he was celebrated as one of the oldest living settlers of the district. His son, Orlando Henry Beater Christian (c.1853-1930) became a member of the Hawthorn Band and a foundation member of the Willsmere Swimming Club. Orlando and his wife Elizabeth had four children of which Henry Beater Christian (1886-1962) was the eldest.An album of photographs, compiled by Henry Beater Christian (1886-1962) of Pakington Street, Kew, depicting individuals, natural and settled environments and the interactions between these worlds. Henry Christian, was a keen explorer, not just of his immediate environment but also of the Victorian wilderness. His major opus is contained in two albums in which he records, sometimes in majestic detail and on other occasions the intimate features of the natural world. His photographic travels during the 1920s, often in solitary ramblings but on other occasions with companions, recall the heroic landscape photography of an earlier era, pioneered by Nicholas Caire. In addition to their aesthetic value, the albums are historically significant records within the State of Victoria, of what is now a distant point in time, and of places that have become radically altered through human intervention.Digital copy of a photograph 24-page album loaned by Diane Washfold with permission given to photograph and hold a copy in our collection. The album contains series of photographic positives taken by Henry Christian (a resident of Pakington Street), of places in Kew and throughout regional Victoria during the late 1920s. The mainly sepia photographs, while small, are of a very high resolution. Photographs are typically lightly glued onto pages. Individual pages may be identified by white ink, which in a number of cases is illegible due to wear. Identifiable locations include: Walhalla, Thomson River, Aberfeldy, Matlock, Jericho, Jordan River, Jamieson, Harrietville, Mt Feathertop, the Alpine Road, Cape Patton, Melbourne, and Kew.henry christian (1886-1962), landscape photography, photograph albums, walhalla (vic.) -- history —— photographs, thomson river (vic.) — history —— photographs, aberfeldy (vic.) -- history —— photographs, matlock (vic.) -- history —— photographs, jericho (vic.) -- history —— photographs, jordan river (vic.) -- history —— photographs, jamieson (vic.) -- history —— photographs, harrietville (vic.) -- history —— photographs, mt feathertop (vic.) -- history —— photographs, alpine road (vic.) -- history —— photographs, kew (vic.) — history—— macauley’s boathouse — photographs, kew (vic.) —— history - kew lunatic asylum — photographs, kew canoe club history — — photographs, cape patton — history— photographs, coronation — george vi — melbourne (vic.), christian-washfold collection

Brothers homes and Andrew Chirnside, who emigrated from Scotland, built the Italianate -style mansion on their Werribee property between 1874 and 1877. They were pioneering pastoralists who foundered the Chirnside Pastoral Empire. The Victorian Government purchased the property in 1973 and it opened as a tourist attraction in 1977 run by Parks Victoria. The photograph was taken when the students from Bulla Primary School visited the property.The visit to Werribee Park Mansion was included in the students' history studies.A coloured non-digital photograph of a large double storey Italianite style mansion with an imposing lookout tower with flagpole over the main entrance. A large sweeping gravel driveway leads to the main entrance.school excursions, bulla primary schooil, werribee park mansion, thomas chirnside, andrew chirnside, parks victoria

This is the second Book about my Pioneering ancestors. The First was about "Pioneering Freelands Henry & Ann.Lime Green card cover with black border black text, drawing of mine poppet head with b/w photo of the old Bull & Mouth hotel Murtoa. Family History of John & Annie Pope (Underlined) Settlers at Daylesford, Stawell & Murtoa, Victoria Inside: To The Stawell Historical Society with thanks & the compliments of the writer Audrey N Steelestawell

Covers some pioneer women in the Wimmera District of Victoria, featuring "Glywylln' Stationm F=Green's Creek & Kirkella. Written by MRs Gilbert as a history option for HSC. Pink Card cover under clear plastic Woman in Australian History with particular reference to Gkywyllan near Stawell, Victoria in the 1850s and 1860s By Mrs E.M. Gilbertstawell

History of the Freeland Family in AustraliaGrey Card with Black order Black Typed title underlined below a sailing ship and three harnessed hoses in a plowed field, Sub Title and AuthorFreeland Family History Stawell, Victoria (Underlined) Clipperships, Gold & Clydesdales. written & Researched by Audrey N.Steele. The Title Page Has a Different title Pioneering Freelands 1852 Henry & Sarah Ann On Inside Cover on white label To Stawell Historical Scy. With Compliments. From Audrey Steele 28/10/1991stawell, middleton, deep lead, freeland