The bridal coat was part of a wedding ensemble worn by Peg Young in 1939. The final two images in the carousel include a wedding photograph of Peg and her husband. A letter accompanying the donation on file describes the outfit as: "Rosemary [Peg] looked very nice indeed in a simple white satin dress that made her look very tall and slim. It had trimming round the neck, down the front and on the shoulders that looked like quilting, with a little gold in it, and she wore gold slippers and a lovely lace veil, lent by Auntie Nellie. She carried a large sheaf of bright red roses." Mrs Peg Young, a Kew resident was at one stage President of the Children's Book Council of Australia. She was also a member of the Kew Historical Society. The coat was donated by her daughter, Mrs Helen Tutt.Floor-length satin bridal coat with a buttoned full length opening at the front extending the length of the garment. The front of the coat is hand-quilted in an abstract design of arabesques. The buttons are covered with the same satin fabric as the coat. Accompanying the dress there is a photo of the couple on the steps of the unnamed church in London and a letter describing the event, including the coat.Transcript of accompanying letter: Red Cottage Mallory Road Hove 4 Sussex England July 21.39 Dear Faith I have been up to London today to Rosemary's (Peggy) wedding. Though you might like to hear about it. To my mind the one sad part was that your Uncle Bertie and your adopted sister could not be there. Daisy (Margaret) has been simply splendid in all she has done. Rosemary looks very nice indeed in a simple white satin dress that made her look very tall & slim. It had trimming round the neck down the front & on the shoulders that looked like quilting, with a little gold in it, & she wore gold slippers & a lovely lace veil lent by Auntie Nellie. She carried a large sheaf of bright red roses. Her two bridesmaids were Mary & Brenda. They wore the same bridesmaids dresses as they wore at their sister Peggy's wedding a few weeks ago. They were very pale blue satin, simply made, with long skirts & they had lovely little flat bouquets made of the heads of all sorts of flowers out in the gold holder which I am sending you & tied round the handle with gold ribbon. They had wreaths of the same flowers in their hair. Nevil gave Rosemary away."costumes, wedding dresses, wedding coats, peg young, helen tutt, fashion design, fashion -- united kingdom, fashion -- 1930s

'Fairyland' at 57 Malmsbury Street, Kew - the home and garden of Jim and Grace Tabulo - was a major local, state and international tourist attraction from the 1940s to the mid 1960s. The Kew Historical Society's collection contains original photographs, visitor books and items that were once displayed in the house by the Tabulos. Grace Tabulo died in 1973 and is buried with her husband Jim in the Boroondara General Cemetery (PRES B 1973). Following her death at the age of 88, the house was sold and its contents distributed. The cottage is now a private residence.The 'Fairyland' collection is of local and statewide significance, as a varied and comprehensive record of this major Melbourne tourist attraction.Large, original black and white print positive of the owner of 'Fairyland' Grace Tabulo, with two visiting children who watch a pet myna bird take food from Mrs Tabulo's mouth. The room, like the rest of the house (and garden) includes numerous mementos and decorative items. While there is no marking to the reverse, it may be that this photo was professionally taken by a press photographer.Nilgrace tabulo, fairyland, 57 malmsbury street

'Fairyland' at 57 Malmsbury Street, Kew - the home and garden of Jim and Grace Tabulo - was a major local, state and international tourist attraction from the 1940s to the mid 1960s. The Kew Historical Society's collection contains original photographs, visitor books and items that were once displayed in the house by the Tabulos. Grace Tabulo died in 1973 and is buried with her husband Jim in the Boroondara General Cemetery (PRES B 1973). Following her death at the age of 88, the house was sold and its contents distributed. The cottage is now a private residence.The 'Fairyland' collection is of local and statewide significance, as a varied and comprehensive record of this major Melbourne tourist attraction.Large, original black and white print positive of the owner of 'Fairyland' Grace Tabulo, with two visiting children who watch a pet myna bird take food from Mrs Tabulo's mouth. The room, like the rest of the house (and garden) includes numerous mementos and decorative items. While there is no marking to the reverse, it may be that this photo was professionally taken by a press photographer.Nilgrace tabulo, fairyland, 57 malmsbury street

Architect and surveyor, Albert Purchas, is believed to be the designer of the cast iron entrance gates (1889), the rotunda (1890) and the surrounding ornamental brick wall (1895–6), as well as various additions to the original 1860 Cottage in the period 1866–1899 including the clock tower.Colour print positive photograph of the restored rotunda, surrounded by graves in the Boroondara (Kew) Cemetery.Nil

‘Reno’, stood on the east side of St John’s Parade. Its earliest recorded owner was the architect Samuel Cocking who lived there from c.1865 until his death in 1888. The original landholding was bordered by Cotham Road, Glenferrie Road, Wellington Street, and Charles Street. The garden including rare plants supplied by Baron Von Mueller, surrounds the cottage in a tangled frenzy. Despite a ‘local significance’ classification by the National Trust, the house was demolished in 1977.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 Reno, St John's Parade, Kew. Pictured are the garage in the distance at left, the weatherboard house with its simple verandah, and the overgrown front garden.Annotation verso: "Reno. St Johns Parade. Reno. Miss Green".dorothy rogers, reno.-- st john's parade (kew)

In 1979, a series of photographs of significant gardens in Kew (Victoria) were taken during a tour by Peter Watts, Historic Gardens Coordinator of National Trust Victoria. These were later purchased to add to the collection. In the case of each photo the colour had badly degraded over time. Original colour (degraded) positive photograph of 'Mynda', 5 Molesworth Street , Kew. Architect - Lloyd Taylor.Annotated in ink on reverse: "Miss Anderson's cottage garden and home / Front view / Built 1884 by Lloyd Taylor architect / Photo taken by Peter Watts, Historic Gardens Project Coordinator, National Trust / Purchased by Society 14/11/1979."gardens -- kew (vic.), mynda, 5 molesworth street -- kew (vic.)

'A suburban villa of 1885 designed by Lloyd Tayler for his daughter and son-in-law on a plan centred upon an octagonal top-lit hall. A square bay window to the drawing room projects from the front corner of the house at 45 degress, showing for the first time the diagonal emphasis which was to be developed in other works of the architect and to become in due course a characteristic of the Federation Style.' (National Trust Victoria Citation)Original colour positive photograph (Kodak print) of the front garden of 'Mynda', 5 Molesworth Street, KewInk on reverse: "Miss Anderson's / No.5 Molesworth St. / Cottage garden / Taken and ***"historic gardens -- kew (vic.), mynda, 5 molesworth street -- kew (vic.)

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.The National Trust citation in 1960 stated that Houghton (dem.) appeared to date from the 1850's and might possibly be of prefabricated construction. Although modified, it contained substantial external evidence of its early construction and is one of the few buildings remaining in Kew from this early period. It was used at one stage as a doctor's surgery and residence - the surgery being at the rear of the property. The image was used by Dorothy Rogers in 'A History of Kew' (1973), facing page 128.Houghton. Built prior to 1860. Occupied once by Miss Bowden. Now cottage belongs to War Widows Homes, Princess Street. Miss Bowden's cottage. Now Mrs Gahan. Built prior to 1860.houghton, princess street, kew, dorothy rogers

Comparatively few weatherboard houses in Kew survived from the early years of settlement into the second half of the 20th century. One such property was ‘Reno’, which once stood on the east side of St John’s Parade. Its earliest recorded owner was the architect Samuel Cocking who lived there from c.1865 until his death in 1888. The original landholding was bordered by Cotham Road, Glenferrie Road, Wellington Street, and Charles Street. The southern portion of this land included a fine orchard, with many imported trees. The old summer house, at first in the orchard, was later removed to the house garden. The MMBW Detail Plan No.1576 (1904) shows the remaining portion of the original land holding, including a semi-circular pathway at the front, and garden features such as an aviary, a fountain and grotto, and a fernery. None of these are apparent in photographs dating from the 1960s, where the garden, which once included rare plants provided by Baron Von Mueller, surrounds the cottage in a tangled frenzy. Despite a ‘local significance’ classification by the National Trust, the house was demolished in 1977. Wallpaper fragment from ‘Reno’. This small fragment of floral wall paper is a bolder design than the delicately drawn flowers in 1977.0005.1. The flowers in this example were impressionistically created using printing blocks that allowed for different thicknesses of paint to be applied in the hand-blocking process. wallpaper, reno, st john's parade, kew

Comparatively few weatherboard houses in Kew survived from the early years of settlement into the second half of the 20th century. One such property was ‘Reno’, which once stood on the east side of St John’s Parade. Its earliest recorded owner was the architect Samuel Cocking who lived there from c.1865 until his death in 1888. The original landholding was bordered by Cotham Road, Glenferrie Road, Wellington Street, and Charles Street. The southern portion of this land included a fine orchard, with many imported trees. The old summer house, at first in the orchard, was later removed to the house garden. The MMBW Detail Plan No.1576 (1904) shows the remaining portion of the original land holding, including a semi-circular pathway at the front, and garden features such as an aviary, a fountain and grotto, and a fernery. None of these are apparent in photographs dating from the 1960s, where the garden, which once included rare plants provided by Baron Von Mueller, surrounds the cottage in a tangled frenzy. Despite a ‘local significance’ classification by the National Trust, the house was demolished in 1977.Wallpaper fragment from ‘Reno’. This large single example is interesting as it represents a change in fashion and style from the finely drawn flowers (1971.0002.1) of an older paper, parts of which can be seen behind this sample. Typically the updating of wallpapers was accomplished by laying a new paper over the old. The ‘newer’ wallpaper is of a single colour, the tone of which may have suffered from colour distortion due to ageing. The new block-printed design, featuring repeated sprays of flowers and leaves combines a bold use of colour with an elegance of design.reno, st john's parade, kew, samuel cocking, wallpaper