Yields information about the tram operations and the landscape views of the Sturt St median strip.Ten (10) Digital images taken by George Coop during the period 1968 - 1970, of SEC trams in Sturt St, between the City and Pleasant Streets. .1 - Tram 26 climbing the Sturt St hill to Lydiard St, with the Cook's Private Hotel, the Commonwealth Bank and the National Mutual Life building in the background. Photo taken from the Titanic Bandstand. .2 - Tram 40 Sturt St, enough to Lydiard St North just before Raglan St. Has a lady passenger by the tram stop. .3 - Tram 30 - Sturt St north side, near Armstrong St, - has a blue framing line around the photograph. .4 - Tram 39, Sturt St, near Doveton St, shows the rotunda in the median strip. .5 - Tram 18, with median step in view. .6 - Tram 31, with two Johnnie Walker whiskey roof adverts, outside the National Mutual Life building with the Alan Bros Jewellers and Golden Star Chinese Cafe in the view. .7 - Tram 31, Sturt St south side with Town Hall and the Golden City Hotel in the view. Tram has destination of Gardens via Drummond North. .8 - Tram 41 - ditto - going to Sebastopol. .9 - Tram 13, south side, Gardens via Sturt West, about , near Ripon St, with the Ampol service station in the background and about to pick up a lady passenger .10 - Tram 17, near Doveton St. Has a Twin Lakes sign and a Wilkinson Sword Razor Bladese roof advert. trams, tramways, sturt st, raglan st, passengers, doveton st, tram 26, tram 40, tram 30, tram 39, tram 18, tram 31, tram 41, tram 13, tram 17

Set of 5 35mm Agfa colour blue and white plastic mount slide - of a private tour using No. 21 in Ballarat, possibly on 28/8/1971. No. 21 has an SEC roof advertisement, 'Everything is under control in my all electric kitchen". Photo Eldon Hogan Scanning errors on .1, which have resulted in distortions. 3038.1 - No. 21, followed by No. 37, Wendouree Parade, near Haddon St.? .2 - 21 Wendouree Parade, View Point Junction area. .3 - ditto .4 - ditto .5 - ditto tramways, trams, wendouree parade, view point, tram 37, tram 21

The ground floor of "Denderah" was built in 1880 for Mr D White. In 1910 the upper floor was designed by architect William Beebe for George Victor Lansell, son of George Lansell. When George Victor died in 1958, the house was incorporated into Catholic College, Bendigo. It was renamed Coolock House after a property in Ireland by the same name, that was inherited by Catherine McCauly enabling her to begin her charitable work educating and finding work for the poor in Dublin. It is now on the Victorian Heritage Register.Coolock House View Street Bendigo, formerly Denderah. Photo of Coolock House and letters re citation from the National Trust BendigoOn rear of photo: Bendigo Regional Photographic Library for private and research purposes only.history, national trust bendigo collection, coolock house

Situated walking distance from the city centre just off View Street is this superbly restored Victorian Residence displaying ornate treatment & style given to the house in 1880 by Bendigos famous architect William C. Vahland. Set amongst a private garden on a corner allotment of approx. 827m2, the residence includes entrance hall, ornate formal Lounge Room, spacious renovated kitchen and family room, 4 Bedrooms plus a music room or office, Bathroom plus provision for 2nd bathroom or ensuite off the main Bedroom. Large laundry, 2 toilets, downstairs includes large workshop, cellar and storage. Superb front & rear verandahs and private paved rear garden with double carport. The home is in excellent condition with loads of taste, style quality and charm. No 10 Valentine Street Bendigo - Slidehistory, bendigo, national trust collection bendigo, 10 valentine street

Yields information about a special tram service during March 1969 and some unusual moves.Set of four Colour slides, Kodak white cardboard mount, developed March 1969 of a special tram that apparently ran from the depot via View Point, shunted at Ripon St and again at Hospital corner. ..1 - No. 26 running a special in Wendouree Parade, View Point, with the Lake View Hotel. .2 - ditto - and a catering company in the view, as well as a Telephone box. .3 - running from Ripon St into Sturt St. .4 - shunting at Hospital corner - then possibly crossed 34 at Parker St Loop - see 7668. .5 - ditto, but before .4, with the tram rounding the corner from the North side of Sturt St into Drummond St. It would then appear that the tram then reversed a bit before going back into Sturt St onto the South side. One of a series of tour photos - see Reg item 7667, 7668, 7683 and 7701.ballarat, tramways, trams, view point, wendouree parade, ripon st, hospital corner, sturt st, tours, tram 26

Without bridges, Kew remained cut off from the City of Melbourne, only being accessible by Punt. Private and public bridges were constructed from the 1850s, beginning with the Hawthorn Bridge linking Bridge and Burwood Roads. A bridge across the Yarra at Burke Road was created as early as 1873. Since that first wooden bridge, a number of later bridges, typically on concrete pylons have been built, in 1926 and again during the 1970s.Angle view of the new Yarra bridge [ie. The Burke Road bridge] taken from the Kew side, showing the bridge’s structure. Trees line the river’s edge. In the distance can be seen a distant line of houses stretching to the horizon. The river appears to have an S-shaped bend beyond the bridge. The postcard, No. 227, was produced by the Valentine Publishing Co. Pty Ltd., of Queen Street, Melbourne.burke road bridge - kew (vic), bridges - 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.This panoramic view was probably taken from the roof of Xavier College. It invites the viewer to look down on the buildings and streets of Kew, and across to the distant horizon. Mansions and solid bourgeois villas dominate the view of Charles and Wellington Streets. The imposing spires of the Presbyterian and Methodist Churches, built in one of the highest areas of Kew, can be seen in the distance. In the foreground, the photographer includes three significant mansions: Molina, Roxeth and Elsinore. Molina, in the foreground, and the group of weatherboard buildings in its yard was used at this stage for the privately operated ‘Kew High School’ (founded 1872). Roxeth, the home of Herbert Henty can be identified by its distinctive four-sided tower. All three buildings are now part of Trinity Grammar. Other built structures observable in the photograph include Wilton (now the Kew RSL), designed by Guyon Purchas for Dr William Walsh in 1886, and the only known image of the Prospect Hill Hotel prior to the renovation of 1935. Bird's Eye View Looking Northkew illustrated, kew where we live, photographic books, henry kellett

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.A unique Illustrated book, comprising a series of twelve plates of panoramic and landscape photographs of Kew, commissioned from the Melbourne (and Kew) photographer JFC Farquhar, by the Kew stationer Henry Kellett. The book was published in 1891, so it is presumed that the photographs provided by Farquhar were taken in 1891 or in the previous year. Photographs from the cloth bound book were offered by Kellett for sale separately; hence a number are in public collections. The book is in very poor condition, the leaves having separated from the spine. The cover is suffering from red rot while the mounts of each book plate are dirty and frequently suffering from foxing. The actual silver albumen plates variably suffer from foxing and iridescence caused by the deterioration resulting from the photographic process. Each part of the book can be viewed in this record in sequential format.KEW WHERE WE LIVE / KEW ILLUSTRATED / THE ACCOMPANYING ILLUSTRATIONS ARE PHOTOGRAPHIC VIEWS OF KEW AND ITS SURROUNDINGS, EXECUTED BY THE "ARGENTIC BROMIDE PROCESS", WHICH ENSURES ABSOLUTE PERMANENCY OF THE PHOTOGRAPH. IN A FEW YEARS HENCE WHEN MOST OF THE OLD LANDMARKS WILL HAVE DISAPPEARED THESE VIEWS WILL BE A VALUABLE MEMENTO OF KEW AS IT WAS IN 1891. ANY OF THESE ILLUSTRATIONS GAN BE OBTAINED FROM MR. H. KELLETT, HIGH STREET, KEW, IN SINGLE COPIES, IN THE SAME SIZE AS THOSE HEREIN AT 2s PER COPY. THEY MAY ALSO BE OBTAINED IN THE FOLLOWING SIZES FOR FRAMING:- / ACTUAL SIZE OF PHOTOGRAPH 15 INCHES X 12 INCHES @ 8. 6d EACH / 22 INCHES X 16 INCHES @ 15s EACH / PRIVATE RESIDENCES AND ESTATES / SPECIAL ARRANGEMENTS CAN BE MADE FOR TAKING VIEWS OF PRIVATE RESIDENCES - INTERIOR AND EXTERIOR - AND FOR GROUPS, &C., IN ANY SIZE UP TO 40 INCHES BY 30 INCHES BY THE "ARGENTIC BROMIDE" PROCESS UPON APPLICATION TO / MR H. KELLETT / HIGH STREET, KEW.kew illustrated, kew where we live, photographic books, henry kellett, jfc farquhar - photographer

Sanderson P (1988): '73 Walpole Street (Kew), 'Otira'. Built 1887. Original use - Residence. Architect - Crouch. Henry Berry, a noted philanthropist and salt merchant of Melbourne, was the original owner of this two-storey, boom-period house. Berry occupied the residence until his death in 1923 while in February the following year, the property was auctioned. Subsequently purchased by the Methodist Church for use as a training college for missionaries, a number of additions and alterations were made at that stage including a memorial chapel that was built on the property in 1957.' Otira is now a private residence. Original colour positive photograph (polaroid) of 'Otira', 73 Walpole Street, Kew, taken in 1978 by students in Form 3R at Trinity Grammar School as part of a project. The view in the photograph is of the front of the house, minus the first floor verandah that had been removed some decades before and preceding the reinstatement of the verandah sometime after 1988. Prue Sanderson, in the City of Kew Urban Conservation Study, Vol.2 (1988) stated that: 'The house originally had a fine cast iron verandah to two facades, however despite its removal, it remains as a most preposessing structure, The small cast iron perch is not original. Overall the design is in Italianate styling and the walls are clad in render, with extremely fine incised medallions in the render at both levels. The treatment of the tripartite windows with rounded upper corners is also atypical and is repeated in the joinery of the front entrance.'"Photo one / Trinity Grammar Project 1978 / Form 3R / "Otira" Walpole St"otira - 73 walpole street, henry berry, historic houses -- kew (vic.), trinity grammar school, melbourne architects -- crouch

Sanderson P (1988): '73 Walpole Street (Kew), 'Otira'. Built 1887. Original use - Residence. Architect - Crouch. Henry Berry, a noted philanthropist and salt merchant of Melbourne, was the original owner of this two-storey, boom-period house. Berry occupied the residence until his death in 1923 while in February the following year, the property was auctioned. Subsequently purchased by the Methodist Church for use as a training college for missionaries, a number of additions and alterations were made at that stage including a memorial chapel that was built on the property in 1957.' Otira is now a private residence. Original colour positive photograph (polaroid) of 'Otira', 73 Walpole Street, Kew, taken in 1978 by students in Form 3R at Trinity Grammar School as part of a project. The view in the photograph is of the panelled entrance hall."Photo 2 / Otira entrance / Trinity Bays Project"otira - 73 walpole street, henry berry, historic houses -- kew (vic.), trinity grammar school, melbourne architects -- crouch, interior design -- entrance halls -- 1880s

Sanderson P (1988): '73 Walpole Street (Kew), 'Otira'. Built 1887. Original use - Residence. Architect - Crouch. Henry Berry, a noted philanthropist and salt merchant of Melbourne, was the original owner of this two-storey, boom-period house. Berry occupied the residence until his death in 1923 while in February the following year, the property was auctioned. Subsequently purchased by the Methodist Church for use as a training college for missionaries, a number of additions and alterations were made at that stage including a memorial chapel that was built on the property in 1957.' Otira is now a private residence. Original colour positive photograph (polaroid) of 'Otira', 73 Walpole Street, Kew, taken in 1978 by students in Form 3R at Trinity Grammar School as part of a project. The view in of a fire surround and overmantel in the house."Photo 3 / Walnut mantle Otira / Trinity Form 3R"otira - 73 walpole street, henry berry, historic houses -- kew (vic.), trinity grammar school, melbourne architects -- crouch, interior design -- overmantels -- 1880s

Sanderson P (1988): '73 Walpole Street (Kew), 'Otira'. Built 1887. Original use - Residence. Architect - Crouch. Henry Berry, a noted philanthropist and salt merchant of Melbourne, was the original owner of this two-storey, boom-period house. Berry occupied the residence until his death in 1923 while in February the following year, the property was auctioned. Subsequently purchased by the Methodist Church for use as a training college for missionaries, a number of additions and alterations were made at that stage including a memorial chapel that was built on the property in 1957.' Otira is now a private residence. Original colour positive photograph (polaroid) of 'Otira', 73 Walpole Street, Kew, taken in 1978 by students in Form 3R at Trinity Grammar School as part of a project. The view is of the painted glass panels surrounding the main door, viewed from the hall."Photo 4 / Stained glass door panels Otira"otira - 73 walpole street, henry berry, historic houses -- kew (vic.), trinity grammar school, melbourne architects -- crouch, interior design -- front doors -- 1880s, interior design -- painted glass -- 1880s

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

This 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.View of the front driveway of Studley House taken from the first floor balcony. dorothy rogers, studley house

Several boathouses were built in Kew and Fairfield in the late 19th and early 20th centuries. They included Chipperfield’s ‘Moorings’ and floating pontoon. The substantial two-storey house was named the Moorings, and incorporated an upper storey residence. The Moorings was almost washed away in the 1916 floods, and in 1934 almost totally submerged when the Yarra River rose 26 feet in 14 hours. Following the 1934 flood, the house was restored. The floating pontoon, sometimes referred to as a ‘kiosk’ or ‘canteen’, was used to store canoes. Both were removed in 1972 for the construction of the Eastern Freeway.This 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.A view of flooded areas in North Kew in the flood of 1934.Willsmere Bridge. Chipperfields. 1934 floodwillsmere, flood, yarra flood, chipperfields, chipperfields boathouse, north kew

This 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.Corner view of veranda at the front of Studley House looking weststudley house, dorothy rogers

This 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.Corner view of the first floor balcony at Studley House looking west.dorothy rogers, studley house

This 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.View of the left façade of Studley House showing a detail of the two-storey verandastudley house, dorothy rogers

This 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.Entrance to Boroondara General Cemetery. The photograph appears in Dorothy Rogers A History of Kew and appears facing page 64. The photograph is dated to 1973, the year of publication of the book.2 views. Present day, Boroondara Cemeteryboroondara general cemetery, dorothy rogers, kew

This 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.'Yarra Bluffs' was the home of George Henry (1831-1906) and Allegra Charnock Mott (1831-1905), newspaper proprietor (and also a friend of John Inglis, father of Kew doctor, Edgar Inglis, who bought land adjacent to this property in the 1890s). Walter was a son who drowned in the Yarra in a swimming accident January 2, 1890. George & Allegra had fourteen children and the family continued newspaper publishing interests from 1853 until 1986, over four generations.' (Andrew Mott, 2015)[Annotation on reverse by Dorothy Rogers] "Walter Mott's house - formerly Yarra Bluff, Redmond St Kew. This was formerly the back entrance. It is now 2 flats. The upper is occupied by the present owner Mr. Tyler. Walter was drowned in the Yarra. He built the house about ____. He commenced the Kew Mercury in 188_. Back view of George Motts home (1890) Redmond Street".walter mott, yarra bluff, studley park, dorothy rogers

This 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.A panoramic photograph of the grounds of Xavier Preparatory School taken from the vicinity of Studley House, looking north east towards Burke Hall (originally Studley Hall). The foreground to the left of the chapel is an oval known as the Chapel Oval (later known as Studley Oval). The ground to the right front is now known as the Jack Gervasoni oval. The house to the far right (part view) is "Campion".Burke Hall (Xavier Preparatory School) formerly Waverley. Built by Charles Griffiths ca. 1869 (Panoramic view from East [sic]) burke hall, studley hall, xavier preparatory school, kew, studley park, dorothy rogers, chapel oval, jack gervasoni oval, burke hall chapel, studley oval, charles griffiths

A National Trust (Vic) citation records that Ellesmore [sic] was: 'A late Victorian Villa in the grand manner but completed to a meaner standard in the Edwardian Period. Notable for the mannerist porticos surmounted by a sepulchre motif: the central vestibule at the intersection of the two major axes, with lantern lighting from above: and the art nouveau woodwork of the drawing room'.This 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.View of the front veranda of Ellesmere in Princess Street (now demolished). Ellesmereellesmere, kew, princess street, dorothy rogers

This 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.A side view of Villa Alba from Walmer Street in Kew. Now the Villa Alba Museum, the house was this stage still a home for nurses of the Royal Women's Hospital.Villa Alba - Greenlaws home. Built 1863 or 4. Formerly Studley Villavilla alba, walmer street, kew, dorothy rogers

This 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. Frank Richardson sent this postcard to his family from Cairo before leaving for the front.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.Postcard from Egypt to Dorothy Richardson, from her brother Frank in 1915Dear ones at home These Huildings are wonderfull and the interiour are still more ancient and Beautiful. I will have a lot to tell if ever God spares Me to come back alive off to seat of War good bye love to all be kind to Hazel & Alice for Your lovings sons sake Frank dorothy richardson, frank richardson, world war 1, cairo, world war one

This 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.Collins Street, Melbourne looking west.collins street, melbourne, dorothy rogers, postcards - melbourne