These two orange-coloured dishes are made of pressed glass to which an iridiscent surface shimmer has been added by the application of metallic salts. They are examples of Carnival Ware and the orange colour is known in the trade world as 'marigold'. Carnival Ware was first produced in 1908 as a relatively cheap version of decorative glassware in U.S.A. and this country was the main producer up to the 1940s, with the 1920s being the decade when it was most popular. Carnival Ware was also produced in other countries including Australia and the United Kingdom and is a collectable item today. These two dishes have no known local provenance and are retained as examples of vintage household items serving both a utilitarian and a decorative purpose..1 An oval shaped shallow glass dish with pressed patterns and handles at either end. The item is orange-coloured. .2 as abovecarnival ware, orange glass dishes, vintage decorative items

This bamboo fishing rod was used in the mid to late 1900's and demonstrates that local production of recreational fishing poles was at a high level and their demand was high. Imported recreational sporting goods from either the United Kingdom, the United States of America or Asia countries was due to the larger lead up times from these suppliers and the greater import costs from slower ocean supply ships. It was only after World War II that the trade influx from other countries has supplied cheaper goods. This recreational fishing pole is highly significant to the Kiewa Valley as it demonstrates that recreational fishing has been evolved from the need to supply a balanced diet by the early pioneer families of fish from the major Kiewa rivers. The ability of the Kiewa Valley rivers to provide a good fishing environment (high protein diet) for both early indigenous families and early pioneers was the important food source that provided for a balanced diet and the higher level of nutritious development of both body and mind. This two piece wooden fishing Rod is made from bamboo shafts or poles, one length thicker than the other. The smaller diameter shaft is the top end and fits into the longer thicker shaft at a stainless steel tube end.The smaller shaft has a stainless steel reinforcement ring where both shafts fit together. At the bottom end of the thick shaft is a black rubber "stopper" or "foot". There are two stainless steel rings, each with a reel holding "bulge" which allows for the the reel's "prongs" to be secured. The top ring has a greater diameter allowing it to move up and down the shaft/pole to secure the top "prong" firmly onto the shaft/pole.recreation, river, rod, fishing, industry, fish

A scythe is an agricultural hand tool that cuts grass and is used by making large sweeping motions through the crop. Eventually replaced by horse-drawn or motorised machinery, they are occasionally still used as they are inexpensive and efficient. There are different types of scythes with larger or smaller blades. This particular scythe was manufactured by W.A Tyzack & Co. Ltd. Set up by William Tyzack in the early 1800s in Sheffield, United Kingdom, they grew into a larger manufactory specialising in agricultural tools. Adding the ‘Horseman’ brand to their trademark in 1948, they expanded dramatically and exported throughout the Commonwealth.Donated by Wilfred Dungan on behalf of the Dungan family Collection originally used on the property of the late Dr Rae Dungan in Falls Creek Rd Olinda, purchased in the late 1930s from Olinda pioneers Harry and Minnie Holden. Also on the property of late May Farndon of Farndon’s and Falls Rd Mt Dandenong – aunt of Dr Rae William Dungan and also an early pioneer. Family holidays and weekends involved use of these sorts of farm implements plus working with horses. Post-war, the Olinda hand tools and machinery moved to the Shady Creek, Nilma North area where bush, pasture and cows had replaced the Olinda property. Wilfred well remembers being on one end of the crosscut saws cutting fence posts, logs and timber under “the tireless and vocal instruction” of a red headed local Darnum Rd legend called Harry Collyer. “He drove an old Rugby car and nearly pulled me through the logs with every cut!” Cast steel blade. Hole on back and of blade for hanging. Steamed handle (may not be original). Complex pipe/nut washer and five metal shims keeping blade on handle.From tip: BEST CROWN W.A. TYZACK & CO. LTD STELLA WORKS SHEFFIELD. Near handle: image of figure on horse.churchill island, scythe, wa tyzack, sheffield, machinery

When the Balinese King of West Lombok was defeated by the Dutch in November 1894, after nearly two and a half centuries of Balinese rule, a collection of beautifully illustrated lontar leaves was found, among other documents, in the palace library at Cakranegara, capital of the Balinese Kingdom in Lombok. This collection was published in a book called ‘Dampati Lalangon’ meaning “The delight of the spouses”. It is a rare example of a lontar, containing illustrations but no text. It is an allegorical story about a royal couple, the queen representing the godess of wisdom, Saraswati. The illustrations are of a mystical and erotic naturePaperback brown covered book containing eleven plates. Each plate covers 2 pages across and depicts 6 pages of illustrated lontar leaves. Lontar is a type of palm-leaf manuscript from Indonesia. The contents of this book show a rare example of a lontar, containing etched illustrations but no text. The title and preface of this book are in Dutch language.Front cover and title page have the insciptions: Koninklijk Bataviaasch Genootschap van Kunsten en Wetenschappen -Dampati Lalangon - 11 platen naar Balische lontar-illustraties. Tweede uitgave van het "Darmo Lelangon" (1912) There is a circular stamp with the words "Batavia's Genootschap" above a stylized tree and rural scene below which are the words "opgerrgt 24 priz 1778"

Various documents from 'Box 511': a. 'Royal Family' - re filmed portrait of Queen Elizabeth II (1959); b. 'Scientific American', issue of April 1934; c. 'Band of Hope Review, 1867 - published in England (Baptist); d. 'Beautiful Britain' - Art Series No 6 - Scenery of the United Kingdom, m1894; e. as for d. but Series 10; f. as for d. but Series 11; g. as for d. but Series unknown (no cover); h. 'Hobart and Suburbs' = Aerial Survey Maps (street directory), 1954 - ex libris A. Richardson, 1959; I. 'Weekly Times Annual, Dec 10, 1931 - cover and pages missing; j. 'Table Talk Christmas Annual, Dec 3, 1923 (cover and pages missing)document

Craven "A" is a brand of cigarette that exhibits the English-style flavour of a Virginia-tobacco dominant blend, with that plant's attendant nutty sweetness. The cigarette was named after the third Earl of Craven in 1860. Craven A's were a favourite cigarette during World War II. The 'plain' version of the cigarette was unusual in that, there was at one end a cork tip in place of the paper. The Craven A brand is owned by Rothmans, Benson & Hedges Inc (RBH), which also owns or otherwise controls a wide variety of cigarette brands. It was sold by the Carreras Tobacco Company in the United Kingdom.. A tin with hinged lid for 'Craven A' CigarettesTop Lid : CORK 'cat figure' TIPPED / CRAVEN/ A / VIRGINIA / CIGARETTES / MADE IN LONDON ENGLAND/ TRADE MARK Inside lid - Made specially to prevent sore throats / CRAVEN 'A' / CORK TIPPED CIGARETTES / are made from the finest imported / matured Virginia and other choice / tobaccos guaranteed pure and / absolutely free from any adulteration / of any kind. / CARRERA'S LIMITED / (Est. 1788) / ARCADIA WORKS LONDON ENGLANDcigarettes, tobacco, morrabbin, cheltenham, bentleigh, early settlers, craven a, filter tipped cigarettes, cork tipped cigarettes, wd & h.o.wills pty. ltd., british american tobacco co.pty.ltd., craven a cigarettes, carrera’s tobacco company, rothmans pty ltd., , benson and hedges pty ltd.,

Reverend Dr. J. Davis McCaughey (12/07/1914 - 25/03/2005) was ordained in 1942 in Northern Ireland. He served at the YMCA, Fisherwick Belfast, United Kingdom, Professor of New Testament Studies at the Theological Hall, Master of Ormond College and retired in 1979. In 1986 he became Governor of Victoria, an office he held for six years. Rev Ian Steer: b.1929; ordained 1959 at Norlane United Charge; 1963 Broadmeadows Task Force; 1972 chaplain Essendon Grammar; 1985 Sunbury-BullaB & W photograph of Rev Dr Davis McCaughey standing between Rev Ian Steer and Mrs Jean McCaughey."Dr and Mrs McCaughey Rev Ian Steer Reg News 20 December"mccaughey, davis, rev., presbyterian minister, theological hall, ormond college, governor of victoria, rev ian steer, jean mccaughey, presbyterian, minister

The Easter Rising also known as the Easter Rebellion, was an armed insurrection in Ireland during Easter Week in April 1916. The Rising was launched by Irish republicans against British rule in Ireland with the aim of establishing an independent Irish Republic while the United Kingdom was fighting the First World War. It was the most significant uprising in Ireland since the rebellion of 1798 and the first armed conflict of the Irish revolutionary period. Sixteen of the Rising's leaders were executed starting in May 1916. The nature of the executions, and subsequent political developments, ultimately contributed to an increase in popular support for Irish independence.The Six Days' of Rebellion in Dublin - Photo album type book with story of the rebellions and original photos of the damage inflicted on the streets of Dublin. Published by Eason and Sons Ltd., Dublin and Belfast.Inside the front cover: To Pa love from ??. The buildings are shown just as they are at present - I have seen them all. Ireland 1/11/18history, irish rebellion, rebellion in dublin

Articles in annual report include: a public educational program speaking to doctors, nurses, teachers, occupational therapists, service clubs and rotated displays through public libraries, RVIB stand won a prize in Community and welfare section at the Royal Melbourne show, difficulties with Mr and Mrs Tye's estates are resolved and plans to build an educational complex at Romsey, acknowledgement of volunteer involvement with Cubs, Guides, Ham Radio and Model Train clubs available to residential children, and the United Kingdom Hotel in Clifton Hill raised over $8000 to become the top hotel fundraiser again.1 volume of text and illustrationsroyal victorian institute for the blind, corporation records

394 c, Six handwritten pinned pages including abstract and Valuation of Hotel Properties on behalf Cohn Bros Brewery Company made by Messrs G M Hobson & Co licensed valuers Hargreaves St Bendigo dated 10/11/91 and signed G M Hobson. Nineteen hotels are valued. 1. Albert Hotel. 2. Fire Brigade Hotel. 3. City Hotel. 4. British & American. 5. Hustlers Reef. 6. Garden Gully. 7. Universal. 8. Brougham Arms. 9. Victoria. 10. United Kingdom. 11. West End. 12. View Bend. 13. Sparrowhawk. 14. Greyhound. 15. Normandy. 16 Noahs Ark. 17. Saw Mill. 18. Royal. 19. South Elmore. Total value £14305.00bendigo, industry, cohn bros brewery

Metal pea whistle, steel, nickel plated with a spring steel ring. Whistle component made from two stamped and folded pieces of steel plate with a "pea" inside. Spring steel ring held to the whistle with a pressed steel piece. Whole whistle appears to be silver soldered. On the top of the whistle, stamped into the flat plate is the words "The Acme Thunderer" and on the bottom "Made in England". Known by manufacturer as "Small whistle with tapered mouthpiece, produces high pitch". Made by J. Hudson and Co. (Whistles) Ltd. of Birmingham United Kingdom. See Web. site material (attached on file) for details of whistle, history etc. www.acmewhistle.co.uk/history.html Assumed belonged to Les Denmead and was his personal whistle, used by Inspectors. See J. Hudson web site - www.acmewhistles.co.uk (down loaded 10/1/2002)inspectors, whistles, tramways

Ushabti are tiny anthropoid (human-shaped) figures placed in the tombs of wealthy Egyptians. They were intended to do the work of the deceased in the afterlife. This purpose is implied through their name, which may have derived from the Egyptian word “to answer”. The Burke Museum in Beechworth is home to a particular ancient Egyptian Ushabti figure. This artefact was donated to the Museum in 1875. No details about how it left Egypt, arrived in Australia, and where it was located before this donation are known. The Nineteenth Century, when this artefact was donated, was a period when many museums acquired items of ancient Egyptian heritage. Many of these items were procured in less than desirable circumstances, having often been looted from ancient tombs and sold to tourists without documentation as to their original location and/or accompanying grave goods. These artefacts were also divested through partage (the trading of artefacts for funds); however, the latter is unlikely to have been the case for this artefact. Since the Ushabti was donated by an unknown donor, it is likely to have been in a private collection rather than an institution. Ushabti can be dated using iconographic analysis which is non-invasive and provides a comprehensive study of the artefact. The later period of the 18th Dynasty marked the beginning of an increase in both the inclusion of Ushabti as essential funerary items and the creation of Ushabti with tools. From this period, they are no longer depicted without tools. Depictions of tools including gardening hoes are frequently depicted grasped in the Ushabti’s hands whilst items like the seed-bag are depicted hanging on the back rather than in an alternative position. This Ushabti figure grasps a gardening hoe and a mattock and a small seed bag surrounded by a yoke bearing water jars are depicted on the upper back of the Ushabti. These features are essential in helping narrow this dating to the late 18th and before the early 20th Dynasty. The position of this seed bag also provides dating information. In the early 18th Dynasty this bag was consistently drawn on the front of the figurine; however, by the reign of Seti I, this feature moved to the back. Thus, since the seed bag is located on the back of this Ushabti, it cannot date to the early 18th Dynasty. By the 19th Dynasty, Ushabti’s were increasingly made from either faience or terracotta. The availability of these materials in Egypt resulted in the increase of Ushabti production with tombs containing many more figurines than previously seen. The Ushabti held by the Burke collections is made from terracotta. Terracotta was rarely used for Ushabti before and during the early 18th Dynasty with only the odd appearance until the late 18th Dynasty and becoming common through that period until the late Third Intermediate Period. Whilst the face has been damaged, there is no evidence for the Ushabti having been provided with an Osirian false beard. This omission rules out a dating of later than the 25th Dynasty when beards became prominent. The inscriptions also date the Ushabti to the New Kingdom. This is because of the use of sḥḏ (“to illuminate”) with Wsjr (“Osiris”) which only occurs in these periods. Therefore, considering all these elements, the Ushabti can be confidently be dated to between the late 18th to early 19th dynasty.Artefacts like this Ushabti are no longer exclusively representative of their origins in burial assemblages and significance in the mythology of the Egyptian afterlife but are also significant for the accumulated histories they have gained through travel. The movement of this artefact from Egypt to Australia allows insight into the collecting habits of the 19th century, and in particular, the reception of ancient Egyptian artefacts in small rural museums. The procurement of Egyptian artefacts was a social trend around the late 1800s to early 1900s. Egyptian artefacts were considered curiosities and recognised for their ability to attract public attention to museums. They were also utilised in Australian museums, like the Burke Museum, to connect the collection to one of the oldest civilisations known to man and since Australia was considered a “young” country by European settlers, this was vital and derived from an interest in Darwin’s “Origin of the Species” 1859. Furthermore, there was a culture of collecting in the 1800s amongst the affluent in English society which led to the appearance of many Egyptian artefacts in private collections. The acquisition of this Ushabti figure is not certain, but it was likely donated from a private collection rather than an institution. This particular artefact is significant as an example of a high-quality Ushabti representative of those produced during the late 18th or early 19th century. It provides insight into the individualism of an Ushabti and the mythology of ancient Egypt. It also provides an example of the types of items required in the tomb assemblages of this period and reinforces the importance of ensuring the successful afterlife of the deceased through art. This Ushabti belonged to a woman named Taweret-Khaiti, Chantress of Amun, in the late 18th Dynasty or early 19th Dynasty (c.1292 BC) of the Egyptian New Kingdom. It likely comes from an undetermined tomb in the locality of Thebes. This figure is made from Nile silt clay (a polyester terracotta; clay sourced from the banks of the Nile River) which was a popular material for Ushabti construction in the early 19th Dynasty. It is in a fair state of preservation (with the exception of a break through the centre) and originally made to a high quality. The face has been damaged but the eyes and eyebrows are clearly marked with black ink and the sclera painted white. The Ushabti is painted a light brown/yellow colour and features a vertical line of inscription down the lower front. The Ushabti wears a large wig and and a schematic collar. The arms are painted light brown and depicted crossed with bracelets around the wrists. It grasps a hoe and mattock. A yellow seed-basket is depicted on the Ushabti’s back. These features represent the likelihood that this particular Ushabti was intended to complete farm work for the deceased in the next life. There would have been additional Ushabti of similar design within the tomb who worked under the supervision of a foreman Ushabti. The foreman Ushabti would be depicted dressed in the clothing of the living. The inscriptions are painted freehand in black ink and written in a vertical column from the base of the collar to the foot pedestal on the front of the Ushabti. The owner of the Ushabti could elect to have the figures inscribed with their name, the Ushabti spell and any other details they deemed necessary. In the case of this example, the Ushabti is inscribed with the owner’s details and is an abbreviated version of the standard Ushabti formula. This formula ensured that the Ushabti would complete the desired task in the afterlife when called upon by the deceased. Ushabti which were not inscribed would represent their intended purpose through design; however, this Ushabti, like most made in the late 18th Dynasty, conveys its purpose both through both design and inscription. The inscription is as follows: sHD wsir nbt pr Smayt imn tA-wr(t)-xai(ti) mAa xrw which translates to: "The illuminated one, the Osiris (the deceased), the mistress of the household, Chantress of Amun, Taweret-Khaiti, true of voice (justified)"ancient egypt

The Kew Historical Society's postcard collection includes views of Kew, Melbourne and Greater Melbourne as well as those including overseas scenes sent or received from Europe or the Middle East. They date from the 1890s to the 2000s. These postcards may or may not include the name of the publisher or printer. A number of the cards were published as parts of popular series. A way of dating early postcards is to identify whether the reverse was divided by a central line which became the norm after 1902 in the United Kingdom. However, other postcards produced after this date do not always conform to this print layout.The item forms part of the Laurie Bennett collection of thirty-six postcards and photographs of Kew and early Melbourne, donated to the Kew Historical Society in 1980. The postcards in the Bennett collection, like other images in the Society's holdings date from the 1890s to the present and comprehensively indicate points-of-view or scenes considered historically, aesthetically or socially significant in the period in which they were produced.Black and white photograph of the horse tram in High Street, Kew, outside the Boroondara (Kew) General Cemetery. The horse tram was a form of public transport linking the Cemetery with Victoria Bridge.The reverse of the photo identifies the year as 1910. The photo is one of a series of postcards / photographs donated to the Kew Historical Society by L. Bennett in 1980.Reverse: "1910. Donated by L. Bennett 1980. Reg No. KH-402"horse tram -- kew (vic.), boroondara general (kew) cemetery, public transport -- kew (vic.)

The Kew Historical Society's postcard collection includes views of Kew, Melbourne and Greater Melbourne as well as those including overseas scenes sent or received from Europe or the Middle East. They date from the 1890s to the 2000s. These postcards may or may not include the name of the publisher or printer. A number of the cards were published as parts of popular series. A way of dating early postcards is to identify whether the reverse was divided by a central line which became the norm after 1902 in the United Kingdom. However, other postcards produced after this date do not always conform to this print layout.The item forms part of the Laurie Bennett collection of thirty-six postcards and photographs of Kew and early Melbourne, donated to the Kew Historical Society in 1980. The postcards in the Bennett collection, like other images in the Society's holdings date from the 1890s to the present and comprehensively indicate points-of-view or scenes considered historically, aesthetically or socially significant in the period in which they were produced.Postcard depicting Collins Street looking west from Spring Street. Reg-No-KH.392 (obsolete number). Donated by L. Bennettcollins street -- melbourne (vic.), postcards

The Kew Historical Society's postcard collection includes views of Kew, Melbourne and Greater Melbourne as well as those including overseas scenes sent or received from Europe or the Middle East. They date from the 1890s to the 2000s. These postcards may or may not include the name of the publisher or printer. A number of the cards were published as parts of popular series. A way of dating early postcards is to identify whether the reverse was divided by a central line which became the norm after 1902 in the United Kingdom. However, other postcards produced after this date do not always conform to this print layout.The item forms part of the Laurie Bennett collection of thirty-six postcards and photographs of Kew and early Melbourne, donated to the Kew Historical Society in 1980. The postcards in the Bennett collection, like other images in the Society's holdings date from the 1890s to the present and comprehensively indicate points-of-view or scenes considered historically, aesthetically or socially significant in the period in which they were produced.Postcard depicting the Kew Post Office and Court House (built 1888) on the corner of High Street and Cotham Road. In front of the Post Office is a large Moreton Bay Fig tree. The later Kew War Memorial (opened 1925) necessitated the removal of the tree and the relaocation of the Queen Victoria Jubilee Fountain. "No-KH-388. 1888. Donated by Mr. L. Bennett. Later buildings joined. Fig tree + Queen Victoria Jubilee Fountain moved to make way for World War I Memorial 1920."kew court house, kew post office, postcards

The Kew Historical Society's postcard collection includes views of Kew, Melbourne and Greater Melbourne as well as those including overseas scenes sent or received from Europe or the Middle East. They date from the 1890s to the 2000s. These postcards may or may not include the name of the publisher or printer. A number of the cards were published as parts of popular series. A way of dating early postcards is to identify whether the reverse was divided by a central line which became the norm after 1902 in the United Kingdom. However, other postcards produced after this date do not always conform to this print layout.The item forms part of the Laurie Bennett collection of thirty-six postcards and photographs of Kew and early Melbourne, donated to the Kew Historical Society in 1980. The postcards in the Bennett collection, like other images in the Society's holdings date from the 1890s to the present and comprehensively indicate points-of-view or scenes considered historically, aesthetically or socially significant in the period in which they were produced.Sepia photo postcard showing Xavier College quadrangle and side of main hall."Reg. No. KH-395 Opened 1878. Xavier College! Donated by Mr. L. Bennett, 1980". xavier college _ kew, schools - kew, postcards

The Kew Historical Society's postcard collection includes views of Kew, Melbourne and Greater Melbourne as well as those including overseas scenes sent or received from Europe or the Middle East. They date from the 1890s to the 2000s. These postcards may or may not include the name of the publisher or printer. A number of the cards were published as parts of popular series. A way of dating early postcards is to identify whether the reverse was divided by a central line which became the norm after 1902 in the United Kingdom. However, other postcards produced after this date do not always conform to this print layout.The item forms part of the Laurie Bennett collection of thirty-six postcards and photographs of Kew and early Melbourne, donated to the Kew Historical Society in 1980. The postcards in the Bennett collection, like other images in the Society's holdings date from the 1890s to the present and comprehensively indicate points-of-view or scenes considered historically, aesthetically or socially significant in the period in which they were produced.Monochrome photo postcard of Macauleys' Boat Shed in Kew and its position on the Yarra at the end of Molesworth Street."KH-393. Macauley's Boat Shed, Kew. Lower Molesworth St, Donated by L. Bennett"boat sheds - kew (vic), river yarra - kew (vic), macaulay's boat shed - kew (vic), recreation - yarra river - kew (vic)

The Kew Historical Society's postcard collection includes views of Kew, Melbourne and Greater Melbourne as well as those including overseas scenes sent or received from Europe or the Middle East. They date from the 1890s to the 2000s. These postcards may or may not include the name of the publisher or printer. A number of the cards were published as parts of popular series. A way of dating early postcards is to identify whether the reverse was divided by a central line which became the norm after 1902 in the United Kingdom. However, other postcards produced after this date do not always conform to this print layout.The item forms part of the Laurie Bennett collection of thirty-six postcards and photographs of Kew and early Melbourne, donated to the Kew Historical Society in 1980. The postcards in the Bennett collection, like other images in the Society's holdings date from the 1890s to the present and comprehensively indicate points-of-view or scenes considered historically, aesthetically or socially significant in the period in which they were produced.Colour-tinted postcard of the River Yarra at Kew, showing the Kew Lunatic Asylum in the distance.KH-395 .Donated by L. Bennett, 1980river yarra - kew

The Kew Historical Society's postcard collection includes views of Kew, Melbourne and Greater Melbourne as well as those including overseas scenes sent or received from Europe or the Middle East. They date from the 1890s to the 2000s. These postcards may or may not include the name of the publisher or printer. A number of the cards were published as parts of popular series. A way of dating early postcards is to identify whether the reverse was divided by a central line which became the norm after 1902 in the United Kingdom. However, other postcards produced after this date do not always conform to this print layout.Historic postcard of local significance showing the layout of the Alexandra Gardens in Kew. The gardens were opened in 1908 and designed/planted by the Pockett Brothers, so the planting reflects their horticultural style as well as that of the period. The postcard also depicts the Kew Jubilee Rotunda (later demolished and replaced by a second structure in 1988).Monochrome postcard showing the original 'Jubilee Rotunda' in the Alexandra Gardens in Cotham Road.Alexandra Gardens, Kew Oastler Leading Stationer, Kew / Printed in Saxonypostcards -- kew (vic.), alexandra gardens -- kew (vic), rotunda -- alexandra gardens -- kew (vic.), oastler -- stationers -- kew (vic.)

The Kew Historical Society's postcard collection includes views of Kew, Melbourne and Greater Melbourne as well as those including overseas scenes sent or received from Europe or the Middle East. They date from the 1890s to the 2000s. These postcards may or may not include the name of the publisher or printer. A number of the cards were published as parts of popular series. A way of dating early postcards is to identify whether the reverse was divided by a central line which became the norm after 1902 in the United Kingdom. However, other postcards produced after this date do not always conform to this print layout.Rare variant version of this view of Princes Bridge, from the south-east bank of the Yarra River, looking towards the city of Melbourne, showing landmarks of the period.Polychrome postcard of Princess Bridge in Melbourne.Princess Bridge, Melbourne Miss McGilivray, "Oak Bank", Peterborough, _____. princess bridge -- melbourne (vic.), river yarra, postcards -- melbourne (vic.)

The Kew Historical Society's postcard collection includes views of Kew, Melbourne and Greater Melbourne as well as those including overseas scenes sent or received from Europe or the Middle East. They date from the 1890s to the 2000s. These postcards may or may not include the name of the publisher or printer. A number of the cards were published as parts of popular series. A way of dating early postcards is to identify whether the reverse was divided by a central line which became the norm after 1902 in the United Kingdom. However, other postcards produced after this date do not always conform to this print layout.Monochrome postcard of Bourke Street, Melbourne, looking west from Swanston Street. The costumes of the women in the photograph would indicate the use of an earlier photograph dating from the 1885-1895.Mrs L. Clark, Ecclesbourne, Harp Road, East Kew / Wishing you many happy returns of the Day, M. Boylebourke street - melbourne, postcards -- melbourne (vic), photographic postcards

The Kew Historical Society's postcard collection includes views of Kew, Melbourne and Greater Melbourne as well as those including overseas scenes sent or received from Europe or the Middle East. They date from the 1890s to the 2000s. These postcards may or may not include the name of the publisher or printer. A number of the cards were published as parts of popular series. A way of dating early postcards is to identify whether the reverse was divided by a central line which became the norm after 1902 in the United Kingdom. However, other postcards produced after this date do not always conform to this print layout.Early postcard of MelbourneSepia tinted postcard of Collins Street, Melbourne, Th postcard design includes a line separating the address from the message on the reverse, which dates it after 1902. The stamp on the card is a red Victorian stamp with the head of Queen Victoria in use 1901-1911.Front title - Collins Street (looking West), Melbourne Reverse. - Mrs Garahy, Creek Parade, Clunes, Vic / Dear Mollie / All join with me in wishing you and our dear mother a very prosperous and happy New Year. I am enjoying my holidays very much. I heard Melba last week and went to the pantomime Humpty Dumpty. - it was all lovely. I’ll tell you all about them when I return to Clunes. We were all home for Xmas Day. The first time for 17 years. Fondest love. N.C. / I cut my right hand very badly last Monday and have not been able to write till today. N.C.postcards -- melbourne (vic.), collins street --- melbourne (vic)

The Kew Historical Society's postcard collection includes views of Kew, Melbourne and Greater Melbourne as well as those including overseas scenes sent or received from Europe or the Middle East. They date from the 1890s to the 2000s. These postcards may or may not include the name of the publisher or printer. A number of the cards were published as parts of popular series. A way of dating early postcards is to identify whether the reverse was divided by a central line which became the norm after 1902 in the United Kingdom. However, other postcards produced after this date do not always conform to this print layout.Colour postcard of the interior of St Paul's Cathedral, Melbourne by Max Ahearne, Renwick Pride, Gravure Print.St Paul's Cathedral, Melbourne, Australia - Sanctuary / Foundation stone, 1880; Consecrated 1891; Spires computed 1931. Exterior length, 276 feet. Moorhouse spire, 317 feet in height. Architect, William Butterfield, 1814-1900. / Colour photo by Max Ahearne, Renwick Pride, Gravure Print.st paul's cathedral -- melbourne (vic.), postcards -- churches -- melbourne (vic.)

The Kew Historical Society's postcard collection includes views of Kew, Melbourne and Greater Melbourne as well as those including overseas scenes sent or received from Europe or the Middle East. They date from the 1890s to the 2000s. These postcards may or may not include the name of the publisher or printer. A number of the cards were published as parts of popular series. A way of dating early postcards is to identify whether the reverse was divided by a central line which became the norm after 1902 in the United Kingdom. However, other postcards produced after this date do not always conform to this print layout.A Rose Series postcard of Ferny Creek in the Dandenongs to the north of Melbourne. The monochrome postcard is numbered P. 3811.Front: THE ROSE SERIES P. 3811 COPYRIGHT / VIEW AT FERNY CREEK, VIC. Reverse: POST CARD / THE ROSE SERIES DELUXE / A REAL PHOTOGRAPH PRODUCED IN AUSTRALIA / PUBLISHED BY THE ROSE STENOGRAPH CO., ARMADALE, VICTORIA / [Inscription] Many Happy Returns of the day, Mum.ferny creek - victoria, postcards

The Kew Historical Society's postcard collection includes views of Kew, Melbourne and Greater Melbourne as well as those including overseas scenes sent or received from Europe or the Middle East. They date from the 1890s to the 2000s. These postcards may or may not include the name of the publisher or printer. A number of the cards were published as parts of popular series. A way of dating early postcards is to identify whether the reverse was divided by a central line which became the norm after 1902 in the United Kingdom. However, other postcards produced after this date do not always conform to this print layout.A Rose Series postcard of "Labrador" in Ferny Creek in the Dandenongs to the north of Melbourne. The postcard is numbered P. 1511.Front: THE ROSE SERIES P. 1511 COPYRIGHT / "LABRADOR' FERNY CREEK, VIC / THE ROSE SERIES DELUXE / A REAL PHOTOGRAPH PRODUCED IN AUSTRALIAferny creek - victoria, labrador - ferny creek, postcards, guest houses -- ferny creek (vic.), labrador -- ferny creek (vic.)

The Kew Historical Society's postcard collection includes views of Kew, Melbourne and Greater Melbourne as well as those including overseas scenes sent or received from Europe or the Middle East. They date from the 1890s to the 2000s. These postcards may or may not include the name of the publisher or printer. A number of the cards were published as parts of popular series. A way of dating early postcards is to identify whether the reverse was divided by a central line which became the norm after 1902 in the United Kingdom. However, other postcards produced after this date do not always conform to this print layout.A Rose Series postcard of Ferny Creek in the Dandenongs to the north of Melbourne. The postcard is numbered P. 2880.Front: THE ROSE SERIES P. 2880 COPYRIGHT / VIEW AT FERNY CREEK, VIC / Reverse: POST CARD / THE "ROSE' SERIES DELUXE / A REAL PHOTOGRAPH PRODUCED IN AUSTRALIA / PUBLISHED BY THE ROSE STEREOGRAPH CO., ARMADALE, VICTORIArose stereograph company postcards, ferny creek - victoria, postcards -- ferny creek

The Kew Historical Society's postcard collection includes views of Kew, Melbourne and Greater Melbourne as well as those including overseas scenes sent or received from Europe or the Middle East. They date from the 1890s to the 2000s. These postcards may or may not include the name of the publisher or printer. A number of the cards were published as parts of popular series. A way of dating early postcards is to identify whether the reverse was divided by a central line which became the norm after 1902 in the United Kingdom. However, other postcards produced after this date do not always conform to this print layout.A monochrome postcard of the tram terminus beside 'The Block' in Cotham Road, KewOastler, leading stationer, Kew / Printed in Saxonypostcards -- kew (vic.), trams -- kew (vic.), cotham road -- high street --- kew (vic.), the block -- cotham road -- kew (vic.)