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.In this view of Studley Park Road, looking northeast to the Junction, the photographer invites the viewer to participate in a point-of-view that emphasises the elevated, tranquil vantage point of the hill in contrast to the bustling commercial area in the distance. The view emphasises the exclusiveness of Studley Park, with its high fences behind which a number of significant Kew mansions were concealed. Contemporary advertisements for the sale of mansions in Studley Park Road often included fulsome descriptions of their elaborate formal gardens, as well as paddocks for grazing, stabling and dairies. None can be seen here. The use of high, protective wooden pickets to surround the newly planted avenue of elms on the south side of the road appears to be typical of the period. Similar examples can be seen in early photographs of Wellington and Princess Streets.The horse and carriage, selected as a central focus of the view, reinforces the residential, exclusive nature of this part of Kew in the early 1890s. Studley Park Roadkew 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.This is the earliest known photograph of the exterior of Byram (later Tara Hall). It shows the original red brick fence, its asymmetrical gate and gateposts, with a large terra cotta gargoyle surmounting the higher of the two. The architect, Edward Kilburn designed Byram in the Arts & Crafts style for the industrialist George Ramsden. Construction began in 1888 and was reputed to have lasted three years. The mansion had frontages to Studley Park Road and Stevenson Street, including gardens laid out with great taste, including pleasure grounds, tennis lawn, fruit and flower garden, and paddock. The size of many of the trees in the garden indicate that many survived from the garden of Clifton Villa, the previous single-storeyed house built on the site by the Stevenson brothers. Byram had views to Melbourne and Port Phillip Bay. The house was demolished in 1960, despite opposition from the National Trust (Victoria), and its gardens subdivided into residential allotments.A View in Studley Park Roadkew illustrated, kew where we live, photographic books, henry kellett, byram, tara hall, goathlands

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.Completed in November 1890, the railway viaduct (now the Chandler Highway Bridge) linked Kew and Fairfield. The viaduct is significant as the most substantial extant engineering remnant of the Outer Circle Railway Line. Opened in March 1891, the viaduct crossed the Yarra River in a single span, atop three supporting brick pillars. Following the closure of the railway line in 1927, and the construction of the Chandler Highway in 1930, the bridge was used for vehicular traffic. In 1891 when this panoramic photograph was taken, the grounds of what was then the Kew Lunatic Asylum extended down to the River and eastward beyond the viaduct. The landscape surrounding the Asylum was planted with traditional exotic trees such as Oaks, Pines and Cedars, and landmark trees from northern Australia such as the Hoop Pine. Remnant indigenous trees such as the River Red Gum, Yellow Box and Lightwood were scattered around the site, including beside the Yarra River.Railway Bridge Over the Yarrakew illustrated, kew where we live, photographic books, henry kellett, railway viaduct - - 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.When the Kew Lunatic Asylum was opened in 1871, its extensive 340 acres of grounds were intended for farming, agriculture and recreation for the inmates. The point-of-view chosen by Farquhar for this panoramic photograph focuses on the ordered open fields, haystacks and remnant trees that extended from the foreground to the rear of the Asylum. The inmates are the absent players in this pastoral idyll. In 1891, The Argus reported on the Annual Asylum Picnic: “Wednesday saw the Kew picnic, the yearly festival of the mad folks and their keepers. Once a year the public subscribes for cakes and ale for all these mad folks, and their keepers, from superintendent to lowest wardsman, turn out, and use their best endeavours to make one day in the year sanely merry.” Regardless of such merriment, the Asylum’s development and ongoing status were frequently a source of disquiet to the residents of Kew, who regularly petitioned the State Government for its removal. Despite these views, the Asylum was to remain a functioning institution from 1871 to 1988. Kew Asylum & Groundskew illustrated, kew where we live, photographic books, henry kellett, kew lunatic asylum

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.In Farquhar’s close-up portrait of the rat catcher and his dog, the photographer excludes any extraneous data that otherwise might have provided a spatial or motivational context. The contemporary or the present day viewer is required to construct a narrative to explore or understand what is occurring. The title of the picture might incline a viewer to believe that what they see is an exercise in vermin control, and that the rat concerned might be an introduced black or brown rodent. A more likely scenario is that the rat catcher is focussed on catching ‘rakali’, a native water-rat once widely trapped for its fur. The trapping of rakali for use in the manufacture of fashionable clothing accelerated as introduced furs such as musquash became more expensive. It was not until 1938 that rakali were granted protected status.Ratting on the Yarrakew illustrated, kew where we live, photographic books, henry kellett, yarra river

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.Dight’s Falls in Studley Park is an artificial weir built on a natural rock bar across the Yarra. The weir was built in the 1840s to provide water to the ‘Ceres’ flour mill, one of the earliest industrial sites in Melbourne. The falls were later to be named after the owner of this mill. In 1888, William Guilfoyle, Director of the Melbourne Botanical Gardens had called for fresh water to be piped from above the weir to the Botanical Gardens, using a pumping station on the Kew side of the Falls, a holding reservoir in Walmer Street and a series of pipes from there to the Gardens. This system was opened in May 1891. Farquhar’s photograph of the man-made weir obscures the industrial activity on both sides of the Falls and focusses solely on the river and the surrounding natural vegetation. The photograph probably predates the disastrous flooding of the Yarra River in July 1891, the greatest to have occurred in the Colony since the foundation of Melbourne.Dight's Fallskew illustrated, kew where we live, photographic books, henry kellett, yarra river

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.Hyde Park is now a small recreation reserve bordered by Willsmere and Kilby Roads and White Avenue. In 1982, Hyde Park was cut off from the Yarra River by the construction of the Eastern Freeway. The building of the latter was to transform the natural landscape, including the Yarra, as well as Hyde Park. The construction of the Freeway makes it difficult to view the scene with the photographer’s eye. Today’s Hyde Park is located on land purchased in 1847 by John Cowell, and in 1851 Catherine Cowell, yet the scene selected by the photographer may well have been located on farmland owned by the Wills family. Farquhar’s point-of-view emphasises both the pastoral and recreational elements of the scene: the grazing cows, three boys, and in the distance two figures, seated on the bank with a parasol. By 1891, an environmental consequence of human activity, including farming, was deforestation, leading to the erosion of the south bank of the Yarra. In contrast, the land on the Alphington side of the river in 1891 included remnant bushland.The Yarra in Hyde Parkkew illustrated, kew where we live, photographic books, henry kellett, yarra river

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

Henry Beater Christian (1886-1962) , was a descendant of one of the earliest settler families in Kew. Employed at the Kew Asylum as a 'public servant', he was a skilled amateur photographer, photographing numerous scenes in Kew and on his travels around Victoria. The majority of his photographs date from 1916 to 1929. His finest photographs are housed in two photograph albums. A dated early photograph of the Yarra River at Kew.Digital copy of a photograph from page 1 of the 47-page photograph album containing 261 gelatinous silver images, loaned by Diane Washfold with permission given to digitise and hold a copy in our collection. The image is of the Yarra at Kew, looking upstream with native vegetation on either bank. There is a wooden fence on the left bank."Yarra River Kew 1924"henry beater christian (1886-1962), landscape photography, kew (vic.) — yarra river, christian-washfold collection, photograph albums

Henry Beater Christian (1886-1962) , was a descendant of one of the earliest settler families in Kew. Employed at the Kew Asylum as a 'public servant', he was a skilled amateur photographer, photographing numerous scenes in Kew and on his travels around Victoria. The majority of his photographs date from 1916 to 1929. His finest photographs are housed in two photograph albums. A dated early photograph of the Yarra River at Kew.Digital copy of a photograph from page 1 of the 47-page photograph album containing 261 gelatinous silver images, loaned by Diane Washfold with permission given to digitise and hold a copy in our collection. The image is a closeup view of the Yarra at Kew, with introduced vegetation (willows) on the bank."Yarra River Kew 1924"henry beater christian (1886-1962), landscape photography, kew (vic.) — yarra river, christian-washfold collection, photograph albums

Henry Beater Christian (1886-1962) , was a descendant of one of the earliest settler families in Kew. Employed at the Kew Asylum as a 'public servant', he was a skilled amateur photographer, photographing numerous scenes in Kew and on his travels around Victoria. The majority of his photographs date from 1916 to 1929. His finest photographs are housed in two photograph albums. A dated early photograph of the Zig-Zag Bridge.Digital copy of a photograph from page 1 of the 47-page photograph album containing 261 gelatinous silver images, loaned by Diane Washfold with permission given to digitise and hold a copy in our collection. The image is a closeup view of the Zig-Zag Bridge which was constructed in the 1870s to link the Yarra Bend Asylum and Kew Asylum. "Yarra River Kew 1924"henry beater christian (1886-1962), landscape photography, kew (vic.) — yarra river, christian-washfold collection, photograph albums, zig-zag bridge

Henry Beater Christian (1886-1962) , was a descendant of one of the earliest settler families in Kew. Employed at the Kew Asylum as a 'public servant', he was a skilled amateur photographer, photographing numerous scenes in Kew and on his travels around Victoria. The majority of his photographs date from 1916 to 1929. His finest photographs are housed in two photograph albums. A dated early photograph of the Yarra River at Kew.Digital copy of a photograph from page 1 of the 47-page photograph album containing 261 gelatinous silver images, loaned by Diane Washfold with permission given to digitise and hold a copy in our collection. The oval image is a birds-eye view of the Yarra with an escarpment on the right-hand side."Yarra River Kew 1924"henry beater christian (1886-1962), landscape photography, kew (vic.) — yarra river, christian-washfold collection, photograph albums

Henry Beater Christian (1886-1962) , was a descendant of one of the earliest settler families in Kew. Employed at the Kew Asylum as a 'public servant', he was a skilled amateur photographer, photographing numerous scenes in Kew and on his travels around Victoria. The majority of his photographs date from 1916 to 1929. His finest photographs are housed in two photograph albums. A dated early photograph of the Yarra River at Kew.Digital copy of a photograph from page 1 of the 47-page photograph album containing 261 gelatinous silver images, loaned by Diane Washfold with permission given to digitise and hold a copy in our collection. The image is a view of the Yarra with a horse on the other side of the river standing near the solitary large tree."Yarra River Kew 1924"henry beater christian (1886-1962), landscape photography, kew (vic.) — yarra river, christian-washfold collection, photograph albums

Henry Beater Christian (1886-1962) , was a descendant of one of the earliest settler families in Kew. Employed at the Kew Asylum as a 'public servant', he was a skilled amateur photographer, photographing numerous scenes in Kew and on his travels around Victoria. The majority of his photographs date from 1916 to 1929. His finest photographs are housed in two photograph albums. A dated early photograph of the Yarra River at Kew.Digital copy of a photograph from page 1 of the 47-page photograph album containing 261 gelatinous silver images, loaned by Diane Washfold with permission given to digitise and hold a copy in our collection. The image is a view of the Yarra with remnant large Eucalypts on either side of the river."Yarra River Kew 1924"henry beater christian (1886-1962), landscape photography, kew (vic.) — yarra river, christian-washfold collection, photograph albums

Henry Beater Christian (1886-1962) , was a descendant of one of the earliest settler families in Kew. Employed at the Kew Asylum as a 'public servant', he was a skilled amateur photographer, photographing numerous scenes in Kew and on his travels around Victoria. The majority of his photographs date from 1916 to 1929. His finest photographs are housed in two photograph albums. A very rare, early panoramic view of Macauley's boat house on the Yarra River at Kew.Digital copy of a photograph from page 2 of the 47-page photograph album containing 261 gelatinous silver images, loaned by Diane Washfold with permission given to digitise and hold a copy in our collection. The photograph is of Macauley's boat sheds on the Yarra River at Kew. The boat sheds was located at the west end of Molesworth Street. The photograph is taken from the Yarra Bend Park side of the river looking down on the boat house from above. The canoes belonging to Macauley's are lined up on the river bank. "Macauley’s Kew"henry beater christian (1886-1962), landscape photography, kew (vic.) — yarra river, christian-washfold collection, photograph albums, macauley's boat sheds

Henry Beater Christian (1886-1962) , was a descendant of one of the earliest settler families in Kew. Employed at the Kew Asylum as a 'public servant', he was a skilled amateur photographer, photographing numerous scenes in Kew and on his travels around Victoria. The majority of his photographs date from 1916 to 1929. His finest photographs are housed in two photograph albums. Digital copy of a photograph from page 2 of the 47-page photograph album containing 261 gelatinous silver images, loaned by Diane Washfold with permission given to digitise and hold a copy in our collection. The photograph is of waterlilies planted at Macauley's boat sheds on the Yarra River at Kew. The boat sheds were located at the west end of Molesworth Street. "Macauley’s Kew"henry beater christian (1886-1962), landscape photography, kew (vic.) — yarra river, christian-washfold collection, photograph albums, macauley's boat sheds

Henry Beater Christian (1886-1962) , was a descendant of one of the earliest settler families in Kew. Employed at the Kew Asylum as a 'public servant', he was a skilled amateur photographer, photographing numerous scenes in Kew and on his travels around Victoria. The majority of his photographs date from 1916 to 1929. His finest photographs are housed in two photograph albums. A fine, early view of Macauley's boat sheds on the Yarra River at Kew.Digital copy of a photograph from page 2 of the 47-page photograph album containing 261 gelatinous silver images, loaned by Diane Washfold with permission given to digitise and hold a copy in our collection. The photograph is of Macauley's boat sheds on the Yarra River at Kew. The boat sheds were located at the west end of Molesworth Street. The photograph is taken from the Yarra Bend Park side of the river, or from a boat on the river. The canoes belonging to Macauley's are lined up on the river bank. "Macauley’s Kew"henry beater christian (1886-1962), landscape photography, kew (vic.) — yarra river, christian-washfold collection, photograph albums, macauley's boat sheds

Henry Beater Christian (1886-1962) , was a descendant of one of the earliest settler families in Kew. Employed at the Kew Asylum as a 'public servant', he was a skilled amateur photographer, photographing numerous scenes in Kew and on his travels around Victoria. The majority of his photographs date from 1916 to 1929. His finest photographs are housed in two photograph albums. A fine, early view of the river bank at Macauley's boat sheds on the Yarra River at Kew.Digital copy of a photograph from page 2 of the 47-page photograph album containing 261 gelatinous silver images, loaned by Diane Washfold with permission given to digitise and hold a copy in our collection. The photograph is of the river bank at Macauley's boat sheds on the Yarra River at Kew. The boat sheds were located at the west end of Molesworth Street. The photograph is taken from the Yarra Bend Park side of the river, or from a boat on the river. A group, probably members of the photographer's family, are sitting underneath a giant weeping willow."Macauley’s Kew"henry beater christian (1886-1962), landscape photography, kew (vic.) — yarra river, christian-washfold collection, photograph albums, macauley's boat sheds

Henry Beater Christian (1886-1962) , was a descendant of one of the earliest settler families in Kew. Employed at the Kew Asylum as a 'public servant', he was a skilled amateur photographer, photographing numerous scenes in Kew and on his travels around Victoria. The majority of his photographs date from 1916 to 1929. His finest photographs are housed in two photograph albums. A fine, early view of Macauley's boat sheds on the Yarra River at Kew. It is also one of the earliest views of Carnsworth, a notable mansion in Studley Park. Digital copy of a photograph from page 2 of the 47-page photograph album containing 261 gelatinous silver images, loaned by Diane Washfold with permission given to digitise and hold a copy in our collection. The photograph is of a stretch of the Yarra River at Kew. In the foreground are the boats of Macauley's Boat Sheds. On the horizon is the red brick tower of J Lewis Carnegie's house 'Carnsworth' in Stawell Street. "Macauley’s Kew"henry beater christian (1886-1962), landscape photography, kew (vic.) — yarra river, christian-washfold collection, photograph albums, macauley's boat sheds, carnsworth -- stawell street -- kew (vic.)

Henry Beater Christian (1886-1962) , was a descendant of one of the earliest settler families in Kew. Employed at the Kew Asylum as a 'public servant', he was a skilled amateur photographer, photographing numerous scenes in Kew and on his travels around Victoria. The majority of his photographs date from 1916 to 1929. His finest photographs are housed in two photograph albums. Digital copy of a photograph from page 3 of the 47-page photograph album containing 261 gelatinous silver images, loaned by Diane Washfold with permission given to digitise and hold a copy in our collection. The photograph is of a stretch of the Yarra River at Kew near Macauley's Boat Sheds. Of interest is the debris in the river which reminds us that the river periodically flooded, washing down trees and branches from further upriver. "Yarra Rvr / Kew / 1925"henry beater christian (1886-1962), landscape photography, kew (vic.) — yarra river, christian-washfold collection, photograph albums

Henry Beater Christian (1886-1962) , was a descendant of one of the earliest settler families in Kew. Employed at the Kew Asylum as a 'public servant', he was a skilled amateur photographer, photographing numerous scenes in Kew and on his travels around Victoria. The majority of his photographs date from 1916 to 1929. His finest photographs are housed in two photograph albums. Digital copy of a photograph from page 3 of the 47-page photograph album containing 261 gelatinous silver images, loaned by Diane Washfold with permission given to digitise and hold a copy in our collection. A photograph of a stretch of the Yarra River at Kew. From the 1840s, at the Crown Land Sales, lots adjacent to the river were sold and developed as dairy farms, hence the presence of cattle until the land was subdivided or created into golf courses during the twentieth century. "Yarra Rvr / Kew / 1925"henry beater christian (1886-1962), landscape photography, kew (vic.) — yarra river, christian-washfold collection, photograph albums, dairying -- kew (vic.)

Henry Beater Christian (1886-1962) , was a descendant of one of the earliest settler families in Kew. Employed at the Kew Asylum as a 'public servant', he was a skilled amateur photographer, photographing numerous scenes in Kew and on his travels around Victoria. The majority of his photographs date from 1916 to 1929. His finest photographs are housed in two photograph albums. Digital copy of a photograph from page 3 of the 47-page photograph album containing 261 gelatinous silver images, loaned by Diane Washfold with permission given to digitise and hold a copy in our collection. A photograph of a stretch of the Yarra River at Kew. In the distance rises J Lewis Carnegie's mansion 'Carnsworth' in Stawell Street."Yarra Rvr / Kew / 1925"henry beater christian (1886-1962), landscape photography, kew (vic.) — yarra river, christian-washfold collection, photograph albums, carnsworth

Henry Beater Christian (1886-1962) , was a descendant of one of the earliest settler families in Kew. Employed at the Kew Asylum as a 'public servant', he was a skilled amateur photographer, photographing numerous scenes in Kew and on his travels around Victoria. The majority of his photographs date from 1916 to 1929. His finest photographs are housed in two photograph albums. Digital copy of a photograph from page 3 of the 47-page photograph album containing 261 gelatinous silver images, loaned by Diane Washfold with permission given to digitise and hold a copy in our collection. A photograph of an introduced exotic tree in flower, probably near Macauley's Boat Sheds."Yarra Rvr / Kew / 1925"henry beater christian (1886-1962), landscape photography, kew (vic.) — yarra river, christian-washfold collection, photograph albums

Henry Beater Christian (1886-1962) , was a descendant of one of the earliest settler families in Kew. Employed at the Kew Asylum as a 'public servant', he was a skilled amateur photographer, photographing numerous scenes in Kew and on his travels around Victoria. The majority of his photographs date from 1916 to 1929. His finest photographs are housed in two photograph albums. Digital copy of a photograph from page 3 of the 47-page photograph album containing 261 gelatinous silver images, loaned by Diane Washfold with permission given to digitise and hold a copy in our collection. This photograph is of a stretch of the Yarra near Macauley's Boat Sheds. In the distance, elevated above the river are the towers of the Kew Asylum. Henry B Christian developed his own photographs and often selected those he considered artistically fine for visual modification, such in this instance, where he used an oval framing technique in the development process. The style was commonplace in postcards. "Yarra Rvr / Kew / 1925"henry beater christian (1886-1962), landscape photography, kew (vic.) — yarra river, christian-washfold collection, photograph albums, kew asylum

Henry Beater Christian (1886-1962) , was a descendant of one of the earliest settler families in Kew. Employed at the Kew Asylum as a 'public servant', he was a skilled amateur photographer, photographing numerous scenes in Kew and on his travels around Victoria. The majority of his photographs date from 1916 to 1929. His finest photographs are housed in two photograph albums. Digital copy of a photograph from page 4 of the 47-page photograph album containing 261 gelatinous silver images, loaned by Diane Washfold with permission given to digitise and hold a copy in our collection. This photograph is of a stretch of the Yarra at Kew."Yarra at Kew"henry beater christian (1886-1962), landscape photography, kew (vic.) — yarra river, christian-washfold collection, photograph albums

Henry Beater Christian (1886-1962) , was a descendant of one of the earliest settler families in Kew. Employed at the Kew Asylum as a 'public servant', he was a skilled amateur photographer, photographing numerous scenes in Kew and on his travels around Victoria. The majority of his photographs date from 1916 to 1929. His finest photographs are housed in two photograph albums. Digital copy of a photograph from page 4 of the 47-page photograph album containing 261 gelatinous silver images, loaned by Diane Washfold with permission given to digitise and hold a copy in our collection. This photograph is of a bank of the Yarra at Kew where cows graze among the trees"Yarra at Kew"henry beater christian (1886-1962), landscape photography, kew (vic.) — yarra river, christian-washfold collection, photograph albums, dairying, dairy farms

Henry Beater Christian (1886-1962) , was a descendant of one of the earliest settler families in Kew. Employed at the Kew Asylum as a 'public servant', he was a skilled amateur photographer, photographing numerous scenes in Kew and on his travels around Victoria. The majority of his photographs date from 1916 to 1929. His finest photographs are housed in two photograph albums. Digital copy of a photograph from page 4 of the 47-page photograph album containing 261 gelatinous silver images, loaned by Diane Washfold with permission given to digitise and hold a copy in our collection. This photograph is of the Yarra River at Kew."Yarra at Kew"henry beater christian (1886-1962), landscape photography, kew (vic.) — yarra river, christian-washfold collection, photograph albums

Henry Beater Christian (1886-1962) , was a descendant of one of the earliest settler families in Kew. Employed at the Kew Asylum as a 'public servant', he was a skilled amateur photographer, photographing numerous scenes in Kew and on his travels around Victoria. The majority of his photographs date from 1916 to 1929. His finest photographs are housed in two photograph albums. Digital copy of a photograph from page 4 of the 47-page photograph album containing 261 gelatinous silver images, loaned by Diane Washfold with permission given to digitise and hold a copy in our collection. This photograph of hop farming coveys the various uses for which low lying fertile flood prone land beside the Yarra River was used."Yarra at Kew"henry beater christian (1886-1962), landscape photography, kew (vic.) — yarra river, christian-washfold collection, photograph albums, agriculture, hop farms

Henry Beater Christian (1886-1962) , was a descendant of one of the earliest settler families in Kew. Employed at the Kew Asylum as a 'public servant', he was a skilled amateur photographer, photographing numerous scenes in Kew and on his travels around Victoria. The majority of his photographs date from 1916 to 1929. His finest photographs are housed in two photograph albums. Digital copy of a photograph from page 4 of the 47-page photograph album containing 261 gelatinous silver images, loaned by Diane Washfold with permission given to digitise and hold a copy in our collection. This photograph of the Yarra was taken in c.1925."Yarra at Kew"henry beater christian (1886-1962), landscape photography, kew (vic.) — yarra river, christian-washfold collection, photograph albums

Henry Beater Christian (1886-1962) , was a descendant of one of the earliest settler families in Kew. Employed at the Kew Asylum as a 'public servant', he was a skilled amateur photographer, photographing numerous scenes in Kew and on his travels around Victoria. The majority of his photographs date from 1916 to 1929. His finest photographs are housed in two photograph albums. Digital copy of a photograph from page 4 of the 47-page photograph album containing 261 gelatinous silver images, loaned by Diane Washfold with permission given to digitise and hold a copy in our collection. This is a photograph of Orlando Henry Beater Christian, the father of the photographer, standing on the banks of the Yarra. Orlando was a founder of the Willsmere Swimming Club."Yarra at Kew"henry beater christian (1886-1962), landscape photography, kew (vic.) — yarra river, christian-washfold collection, photograph albums, orlando henry beater christian