Tie in Outside Gold Rush Hotel Bridge and Cemetery Lane Thought to be 10'' Cast 270mm. - 24/01/1990Polaroidorganisation, industry, gas and fuel

200 HP S7 100 Outlet Note no Tee no Valve - Iso LP Cast iron DNR Tie in Point - Eaglehawk Road Kiosk - 09/04/1991Polaroidorganisation, industry, gas and fuel

Photograph - Black and white of an Electric Supply Co. pillar or switch box, cast iron, with the company on the side and on the base "The British Insulated Wire Co. Ltd Prescot England". This type of item was used to terminate and interconnect feeder cables in both Ballarat and Bendigo.Yields information about the ESCo switch or cable pillars.Black and white photograph on plain paperIn ink on rear "R Green photo" and "See composite caption" which has been crossed out.tramways, tramcars, esco, electrical switching, electrical equipment, british insulated wire company

View of Charing Cross and Pall Mall Bendigo, featuring the Alexandra fountain still under construction. The fountain was jointly funded by the Bendigo Juvenile Industrial Exhibition in 1879, a 500 pound donation by George Lansell and a 700 pound grant from the Sandhurst City Council. The fountain was designed by William Vahland and was opened 5/7/1881. The fountain is 28 feet tall and sits in a 2 feet deep pond that is 50 feet in diameter. It was built with 22 tons of Harcourt granite, cast iron and painted stone.8531 A4 B&W photograph of Charing Cross and Pall Mall, Bendigo, in the late 1800s (prior to automobiles); taken from the City Family Hotel. Photograph shows work underway on the Alexandra Fountain at Charing Cross. Photo shows three trams, pedestrians and some horse drawn vehicles. Pall mall shows Post Office, Shamrock hotel and TAFE towers.charing cross, post office

Cast Iron lace was made in foundries in most cities. There were 42 such foundries in Melbourne alone. It was cheaper to make than wrought iron. "Pig iron", iron ore was melted in a blast furnace, mixed with alloys and then poured into molds usually made of sand. The alloys needed a minimum of 2% carbon.A black and white photograph by Alan Doney of the building at 247 View St in Bendigo. The photo shows detail of the wrought iron on the verandah. alan doney, bendigo, wrought iron

Cast Iron lace was made in foundries in most cities. There were 42 such foundries in Melbourne alone. It was cheaper to make than wrought iron. "Pig iron", iron ore, was melted in a blast furnace, mixed with alloys and then poured into moulds usually made of sand. The alloys needed a minimum of 2% carbon.A black and white photograph by Alan Doney of the building at 257 View St in Bendigo. The photo shows detail of the wrought iron on the verandah. alan doney, bendigo, wrought iron

Cast Iron lace was made in foundries in most cities. There were 42 such foundries in Melbourne alone. It was cheaper to make than wrought iron. "Pig iron", iron ore, was melted in a blast furnace, mixed with alloys and then poured into molds usually made of sand. The alloys needed a minimum of 2% carbon.A black and white photograph by Alan Doney of the building at 22 Valentine St in Bendigo. The photo shows detail of the wrought iron on the verandah. alan doney, bendigo, wrought iron

Cast iron lace was made in foundries in most cities. There were 42 such foundries in Melbourne alone. It was cheaper to make than wrought iron. "Pig iron",iron ore, was melted in a blast furnace, mixed with alloys and then poured into moulds usually made of sand. The alloys needed a minimum of 2% carbon. A black and white photograph by Alan Doney of 288 View St in Bendigo. The photo shows detail of the wrought iron on the fence. alan doney, bendigo, wrought iron

Cast Iron lace was made in foundries in most cities. There were 42 such foundries in Melbourne alone. It was cheaper to make than wrought iron. "Pig iron", iron ore, was melted in a blast furnace, mixed with alloys and then poured into moulds usually made of sand. The alloys needed a minimum of 2% carbon.A black and white photograph by Alan Doney of 159 Forest St in Bendigo. The photo shows detail of the wrought iron on the verandah. alan doney, bendigo, wrought iron

Cast iron lace was made in foundries in most cities. There were 42 such foundries in Melbourne alone. It was cheaper to make than wrought iron. "Pig iron", iron ore, was melted in a blast furnace, mixed with alloys and then poured into moulds usually made of sand. The alloys needed a minimum of 2% carbon.Black and White photos by A Doney of House on corner of Mc Kenzie and Short Street Bendigo showing lace ironwork on the balustrade.Photo A Doneyiron lace work, a doney, historical home bendigo

Cast iron lace was made in foundries in most cities. There were 42 such foundries in Melbourne alone. It was cheaper to make than wrought iron. "Pig iron", iron ore, was melted in a blast furnace, mixed with alloys and poured into molds made of sand. The alloys needed a minimum of 2% carbon.Black and White Photo by A Doney Bendigo of balustrade in Forest Street next to Wesley ChurchA. Doney Bendigoa doney, forest street

A two-page list of Photographs by A. Doney of cast iron lacework in the Bendigo area. Items listed from number one to number twenty six.alan doney, bendigo, wrought iron

Cast iron lace was made in foundries in most cities. There were 42 such factories in Melbourne alone. It was cheaper to make than wrought iron. "Pig iron", iron ore was melted in a blast furnace, mixed with alloys and then poured into moulds usually made of sand. The alloys needed a minimum of 2% carbon.Black and White photos by A Doney of bench seats one showing fern detail and the other leaves and flowers.Photo A Doneyiron lace work, a doney, bench seats

CAst iron lace was made in foundries in most cities. There were 42 such foundries in Melbourne alone. It was cheaper to make than wrought iron. "Pig iron"' iron ore, was melted in a blast furnace, mixed with alloys and poured into moulds usually made with sand. The alloys needed a minimum of 2% carbon.Black and White photo by A Doney of Balustrade on property on the corner of Forest and Barnard Streets Bendigo.A Doney Bendigoalan doney, bendigo, wrought iron, forest street bendigo, barnard street bendigo

Cast iron lace was made in foundries in most cities. There were 42 such foundries in Melbourne alone. It was cheaper to make than wrought iron. "Pig iron", iron ore, was melted in a blast furnace, mixed with alloys and poured into moulds usually med from sand. The alloys needed a minimum of 2% carbon.Black and White photo by A Doney of sandblasting iron lace work on unknown property in Bendigo. Two internal photos of door and arch ways. Larger photo of balustrade with verandah pillars in backgroundA Doney Bendigoalan doney, bendigo, wrought iron

Cast Iron lace was made in foundries in most cities. There were 42 such foundries in Melbourne alone. It was cheaper to make than wrought iron. "Pig iron", iron ore was melted in a blast furnace, mixed with alloys and then poured into moulds usually made of sand. The alloys needed a minimum of 2% carbon. Two black and white photographs by Alan Doney of the Spastic Centre in Don Street, Bendigo. Both photos shows detail of the wrought iron on the verandah. alan doney, bendigo, wrought iron, spastic children's society

Cast Iron lace was made in foundries in most cities. There were 42 such foundries in Melbourne alone. It was cheaper to make than wrought iron. "Pig iron", iron ore was melted in a blast furnace, mixed with alloys and then poured into molds usually made of sand. The alloys needed a minimum of 2% carbon. Three black and white photographs by Alan Doney of the residence 'Illira' at 57 Forest St, Bendigo. The first photo shows the front of the residence. The other two photos show detail of the wrought iron on the verandah. alan doney, bendigo, wrought iron, illira bendigo

"Clifton Villa", cnr Eyre and Winter Sts, Buninyong, was built c.1860 for Mr Newman. The red brick building has bluestone foundations, cast iron lacework verandah trim, high ornate gables, slate roof and unusual round brick chimneys with spiral brick decorations.Historically significant brick home built c.1860 for Mr Newman. Ornate decorations make this an unusual example of homes of the era.Colour photo of "Clifton Villa", cnr Eyre and Winter Sts, Buninyong. Built c.1860 for Mr Newman. The red brick building has bluestone foundations, cast iron lacework verandah trim, high ornate gables, slate roof and unusual round brick chimneys with spiral brick decorations."Clifton Villa 1862" Taken 1991clifton villa, eyre st, winter st, buninyong, newman

"Clifton Villa", cnr Eyre and Winter Sts, Buninyong, was built c.1860 for Mr Newman. The red brick building has bluestone foundations, cast iron lacework verandah trim, high ornate gables, slate roof and unusual round brick chimneys with spiral brick decorations.Historically significant brick home built c.1860 for Mr Newman. Ornate decorations make this an unusual example of homes of the era.Colour photo of "Clifton Villa", cnr Eyre and Winter Sts, Buninyong, viewed from Winter St. Built c.1860 for Mr Newman. The red brick building has bluestone foundations, cast iron lacework verandah trim, high ornate gables, slate roof and unusual round brick chimneys with spiral brick decorations."Clifton Villa 1862" Taken 1991clifton villa, eyre st, winter st, buninyong, newman

Part of series to record changes in BuninyongGrave of Buninyong Pioneer.A B/W and a colour photo, monument, polished granite, pillar on engraved plinth, urn cap, cast iron fence, for early settler George Innes and his daughter.. in Buninyong Cemetery.buninyong, cemetery, headstone, graves, innes, king of splitters, pound, buninyong defiance mine

Part of series to record changes in BuninyongGrave of Buninyong Pioneer.A B/W and a colour photo, monument, polished granite, pillar on engraved plinth, urn cap, cast iron fence, for early settler George Innes and his daughter.. in Buninyong Cemetery.buninyong, cemetery, headstone, graves, francis moss, tresise, apples

The Kew Presbyterian Church was located in Cotham Road, Kew on the corner of Highbury Grove. The Church Hall was located next door in Highbury Grove. On amalgamating with the Uniting Church the buildings became redundant and are now the Kew Chinese Baptist Church.Original photograph from the 1930s that records the kinds of social and spiritual actions of church goers in Kew.Members of the cast of a performance take a certain call at the end of a performance. The item was part of a group of photos relating to the Kew Presbyterian Church, so it may show a performance in which members of the church participated or led. The location of the performance is unclear; it might be at the Kew Recreation Centre or in the Kew Presbyterian Church Hall. Intriguingly, what look to be bunya bunya pines appear in the distance above the proscenium. The photograph was originally identified as possibly being the Kew Light Opera Company, however the photograph precedes its foundation. It is more likely to be a performance by a church group.cast photographs, theatre - melbourne

The first section of Studley House, now part of the preparatory school for Xavier College conducted by the Society of Jesus in Kew, was built in about 1857 for Parliamentarian John Hodgson, an early settler in the district, as a two-storey residence in the Classical Revival style. The name Studley House was first recorded in the Kew ratebooks in 1862, after the house was purchased in 1860 by James McEvoy, squatter. Alterations and an extension, designed by William J Ellis were undertaken in 1875. The house was again altered in 1919 during the ownership of John Wren, former bookmaker, ALP lobbyist, influential Irish-Catholic and millionaire. After 1969 the house was used by the school. (Victorian Heritage Database, 2023)This work forms part of the collection assembled by the historian Dorothy Rogers (1905-1973), donated to the Kew Historical Society by her son 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 from the 1960s to the 1970s. Original monochrome photograph of the view from the first floor verandah of Studley House in Nolan Avenue, Kew. The photo shows the detail of the cast iron lace work used on this section of the verandah.Annotation verso: "Lovely lacework of the balcony Studley House"dorothy rogers, studley house -- nolan avenue (kew)

The first section of Studley House, now part of the preparatory school for Xavier College conducted by the Society of Jesus in Kew, was built in about 1857 for Parliamentarian John Hodgson, an early settler in the district, as a two-storey residence in the Classical Revival style. The name Studley House was first recorded in the Kew ratebooks in 1862, after the house was purchased in 1860 by James McEvoy, squatter. Alterations and an extension, designed by William J Ellis were undertaken in 1875. The house was again altered in 1919 during the ownership of John Wren, former bookmaker, ALP lobbyist, influential Irish-Catholic and millionaire. After 1969 the house was used by the school. (Victorian Heritage Database, 2023)This work forms part of the collection assembled by the historian Dorothy Rogers (1905-1973), donated to the Kew Historical Society by her son 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 from the 1960s to the 1970s. Original monochrome photograph of the first floor verandah of Studley House in Nolan Avenue, Kew. The photo shows the detail of the cast iron lace work used on this section of the verandah.dorothy rogers, studley house -- nolan avenue (kew)

The first section of Studley House, now part of the preparatory school for Xavier College conducted by the Society of Jesus in Kew, was built in about 1857 for Parliamentarian John Hodgson, an early settler in the district, as a two-storey residence in the Classical Revival style. The name Studley House was first recorded in the Kew ratebooks in 1862, after the house was purchased in 1860 by James McEvoy, squatter. Alterations and an extension, designed by William J Ellis were undertaken in 1875. The house was again altered in 1919 during the ownership of John Wren, former bookmaker, ALP lobbyist, influential Irish-Catholic and millionaire. After 1969 the house was used by the school. (Victorian Heritage Database, 2023)This work forms part of the collection assembled by the historian Dorothy Rogers (1905-1973), donated to the Kew Historical Society by her son 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 from the 1960s to the 1970s. Original monochrome photograph of the first floor verandah of Studley House in Nolan Avenue, Kew. The photo shows the detail of the cast iron lace work used on this section of the verandah.dorothy rogers, studley house -- nolan avenue (kew)

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

The Kew Light Opera Company was formed in 1952, and mounted a number of musical and variety productions each year until it was subsumed in the "Q" Theatre Guild in 1957. A partial record of performances by the company includes: 1952 Florodora, 1953 The Cingalee - San Toy or The Emperor's Own, 1954 While the Sun Shines - A Country Girl - Our Miss Gibbs, 1955 The Toreador - The Arcadians, 1956 The Maid of the Mountains - Whiteoaks - Goodnight Vienna!, 1957 A Country Girl. Most of the Company's performances took place in the Kew Recreation Hall in Wellington Street, Kew. The scrapbook of annotated photographs, programmes, and newspaper reviews of which this item is a part was assembled by Marion Tilley, wardrobe mistress for, and performer in, productions by the Kew Light Opera Company and the "Q" Theatre Guild. It is significant as a remarkably complete document of theatre performances in Kew, Victoria during the 1950s and 1960s. The scrapbook, and the items individually catalogued within it, have artistic and aesthetic significance within the history of performing arts in Victoria in the middle of the 20th Century. They have social significance in that they reveal socio-cultural values and preoccupations during the period. The records also act as a history of arts activities in the Kew Recreation Hall and later in the Kew City Hall as entertainment and community arts and music precincts.Black and white photograph of performers in San Toy OR The Emperor's Own. San Toy was a "Chinese" musical comedy in two acts, first performed at Daly's Theatre, London, on 21 October 1899. The book was written by Edward Morton, and the musical score was written by Sidney Jones with lyrics by Harry Greenbank and Adrian Ross. Additional songs were written by Lionel Monckton. The photograph of the cast on stage includes 'Betty', far right. This may have been Betty Eames, Betty Wilson or Betty Crowe. The scenery was by Alexander and Day and the production directed by Lance Nicholls in the Kew Recreation Hall.Arrow and name 'Betty' beside right of photo.performing arts -- kew (vic.), scrapbooks, marion tilley collection, kew light opera company, kew recreation hall, musical comedy -- melbourne -- victoria

The Kew Light Opera Company was formed in 1952, and mounted a number of musical and variety productions each year until it was subsumed in the "Q" Theatre Guild in 1957. A partial record of performances by the company includes: 1952 Florodora, 1953 The Cingalee - San Toy or The Emperor's Own, 1954 While the Sun Shines - A Country Girl - Our Miss Gibbs, 1955 The Toreador - The Arcadians, 1956 The Maid of the Mountains - Whiteoaks - Goodnight Vienna!, 1957 A Country Girl. Most of the Company's performances took place in the Kew Recreation Hall in Wellington Street, Kew. The scrapbook of annotated photographs, programmes, and newspaper reviews of which this item is a part was assembled by Marion Tilley, wardrobe mistress for, and performer in, productions by the Kew Light Opera Company and the "Q" Theatre Guild. It is significant as a remarkably complete document of theatre performances in Kew, Victoria during the 1950s and 1960s. The scrapbook, and the items individually catalogued within it, have artistic and aesthetic significance within the history of performing arts in Victoria in the middle of the 20th Century. They have social significance in that they reveal socio-cultural values and preoccupations during the period. The records also act as a history of arts activities in the Kew Recreation Hall and later in the Kew City Hall as entertainment and community arts and music precincts.Black and white photograph of cast members, probably taken during a curtain call, in a performance of Goodnight Vienna! by The Kew Light Opera Company in 1957. Inscribed beside the photo in the scrapbook by Marion Tilley: "Joan Hutchinson".performing arts -- kew (vic.), scrapbooks, marion tilley collection, kew light opera company, kew recreation hall, musical comedy -- melbourne -- victoria

The "Q" Theatre Guild was formed out of the Kew Light Opera Company in 1957. It marked the transition of the company that had initially been directed by Lance Nicholls to one directed by Beatrice Oakley. It continued to perform in the Kew Recreation Hall, but, with its demolition in 1960, and the opening of the new Kew City Hall in Cotham Road, moved its productions to that venue. Productions of the "Q" Theatre Guild included The Geisha (1957), Maritana (1958), They All Do It (1959), Blossom Time (1959), Love's A Luxury (1959), There And Back & The Bohemian Girl (1960), Die Fledermaus (1960), Gay Rosalinda (1961), The Land Of Smiles (1961), Kisses For A Kid & Hansel And Gretel (1961), Die Fledermaus (1962), Monsieur Beaucaire (1964), Macbeath or The Beggar's Opera, and So To Bed.The scrapbook of annotated photographs, programmes, and newspaper reviews of which this item is a part was assembled by Marion Tilley, wardrobe mistress for, and performer in, productions by the Kew Light Opera Company and the "Q" Theatre Guild. It is significant as a remarkably complete document of theatre performances in Kew, Victoria during the 1950s and 1960s. The scrapbook, and the items individually catalogued within it, have artistic and aesthetic significance within the history of performing arts in Victoria in the middle of the 20th Century. They have social significance in that they reveal socio-cultural values and preoccupations during the period. The records also act as a history of arts activities in the Kew Recreation Hall and later in the Kew City Hall as entertainment and community arts and music precincts.Black and white photograph of cast members of The "Q" Theatre Guild in Blossom Time, a musical play in 3 acts adapted from the operetta Das Dreimäderlhaus by A.M. Wilner & Heinze Reichert. The performance was produced by Beatrice Oakley in 1959 to coincide with Moomba. Music was provided by the Kew Philharmonic Society conducted by John Trotter. The set design is credited to Lachlan Stebbins. Marion Tilley, the creator of the scrapbook in which the photo is pasted, is given credit for designing and making the costumes.performing arts -- kew (vic.), scrapbooks, marion tilley collection, 'q' theatre guild, kew recreation hall, theatre programmes, musical comedy -- melbourne -- victoria

The "Q" Theatre Guild was formed out of the Kew Light Opera Company in 1957. It marked the transition of the company that had initially been directed by Lance Nicholls to one directed by Beatrice Oakley. It continued to perform in the Kew Recreation Hall, but, with its demolition in 1960, and the opening of the new Kew City Hall in Cotham Road, moved its productions to that venue. Productions of the "Q" Theatre Guild included The Geisha (1957), Maritana (1958), They All Do It (1959), Blossom Time (1959), Love's A Luxury (1959), There And Back & The Bohemian Girl (1960), Die Fledermaus (1960), Gay Rosalinda (1961), The Land Of Smiles (1961), Kisses For A Kid & Hansel And Gretel (1961), Die Fledermaus (1962), Monsieur Beaucaire (1964), Macbeath or The Beggar's Opera, and So To Bed.The scrapbook of annotated photographs, programmes, and newspaper reviews of which this item is a part was assembled by Marion Tilley, wardrobe mistress for, and performer in, productions by the Kew Light Opera Company and the "Q" Theatre Guild. It is significant as a remarkably complete document of theatre performances in Kew, Victoria during the 1950s and 1960s. The scrapbook, and the items individually catalogued within it, have artistic and aesthetic significance within the history of performing arts in Victoria in the middle of the 20th Century. They have social significance in that they reveal socio-cultural values and preoccupations during the period. The records also act as a history of arts activities in the Kew Recreation Hall and later in the Kew City Hall as entertainment and community arts and music precincts.Black and white photograph of cast members of The "Q" Theatre Guild in Blossom Time, a musical play in 3 acts adapted from the operetta Das Dreimäderlhaus by A.M. Wilner & Heinze Reichert. The performance was produced by Beatrice Oakley in 1959. Music was provided by the Kew Philharmonic Society conducted by John Trotter. The set design is credited to Lachlan Stebbins. Marion Tilley, the creator of the scrapbook in which the photo is pasted, is given credit for designing and making the costumes.performing arts -- kew (vic.), scrapbooks, marion tilley collection, 'q' theatre guild, kew recreation hall, theatre programmes, musical comedy -- melbourne -- victoria