"Villa Alba is of significance for the outstanding late Victorian painted decoration throughout its interior. The consistently high standard of design in the decoration, and high, and at times, superb quality of its execution, the variety of illustrative techniques, the variety of illusionist effects and the hierarchy of treatments between the rooms of the house all contribute to the significance. The decorative scheme is also of significance as a fine example of the work of the leading Melbourne decorators, the Paterson Brothers. It is one of their first interiors to depart totally from the use of pre-prepared wallpapers of repetitive designs and it is a rare and comprehensive extant example of their domestic work. The decorative schemes in the ground floor hall, the dining room, the drawing, the vestibule, the stair hall, the upper hall, bedroom 1 and the boudoir are also individually of significance as outstanding examples of Victorian decoration.." (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 print monochrome photograph of a section of a ceiling in 'Villa Alba', Walmer Street (Kew)Annotation verso: "Villa Alba, Walmer Street (Kew)"dorothy rogers, villa alba museum, paterson bros, interior decoration -- 1880s

Kew Library history: 1860: Kew's first library was the Kew Literary and Scientific Society, which opened on 6 August 1860. 1884: Kew Town Hall was extended and the library transferred to a room on the upper floor. This was not an ideal arrangement as the room was required for Council purposes. 1904: A cottage adjoining Kew Town Hall was purchased for use as a library. 1937: The library was closed for a major overhaul of stock and renovation of the building. It reopened in December 1937 and remained there for more than 35 years. 1973: When the Civic Centre opened in Charles Street, Kew, the library moved in. 1987: Kew Library moved to its current location in the converted city hall, overlooking the beautiful Alexandra Gardens. The library was officially opened at this site on Friday 23 October 1987 by the Mayor of Kew, Cr James Tutt.An historically interesting photographic record of investment in public infrastructure and services by municipal councils during the 1950s. Framed photographic collage showing the opening of Extensions to the Kew Municipal Library by The Hon. L.W. Balvin M.L.A. Chief Secretary on 19 August 1954. The photos are in their original mount and frame.[Inscription] "Kew Municipal Library: Opening of Extentions by The Hon. L.W. Balvin M.L.A. Chief Secretary 19.8.1954, with Cr. A.S.C. Stevens J.P. Mayor and Cr. W.D. Vaughan J.P. Chairman Library Council". [Photographer] "Stuart Tompkins Studios."kew library, cr a.s.c. stevens, cr w.d. vaughan, australian photographers - stuart tompkins studio

As part of the National Trust's Australian Heritage Festival 2021, the Kew Historical Society and the Villa Alba Museum collaborated to mount a fashion and design exhibition. The theme of the exhibition took its focus from the year-long program at the Museum featuring the use of flowers in design. The walls and ceilings of the house are notable for their use of floral and narrative painted decoration produced, in the early 1880s, for William and Anna Maria Greenlaw by the Melbourne art decoration firm the Paterson Brothers. The examples of fashion and design from the collection of the Kew Historical Society were located on the ground floor of the house: in the drawing room, dining room, morning room and in the vestibule, or ballroom as it was sometimes described in nineteenth century newspapers. The exhibition was supported by the City of Boroondara through Triennial Operational Grant funding for the Kew Historical Society and the Villa Alba Museum.Series of photographs of exhibition pieces in situ at the Villa Alba Museum in May 2021.fashion & design, exhibitions -- kew historical society, exhibitions --- villa alba museum, textiles in bloom, fashion - nineteenth century, fashion -- twentieth century, textiles - nineteenth century, headwear -- twentieth century

Two slide images of the staircase in the old Legacy House in Market Street, probably from the 1950s. It shows children and people gathered together, some are holding balloons and some have party hats on. Legacy rented the Market St premises for many years. It was part of the Western Market complex that was demolished and redeveloped in the early 1960s. Legacy held meetings, activities and the girls classes on the second floor of the building, accessed by this staircase, but it was barely fit for purpose. In the 1940s a generous donation by an anonymous donor meant Legacy could purchase a building at 342 Swanston St, but due to several factors were never able to inhabit it. Finally it was sold in 1954 and Junior Legacy Melbourne purchased 289-299 Swanston Street Melbourne (previously called Red Cross House) in 1956 from the Commonwealth Government.A record of the Market Street building that Legacy occupied for many years until 1956-7.Colour slide x 2 of the staircase at Legacy House in Market Street.properties, market st

After the shell of a 1977 HZ ambulance was located in Toowoomba, the Museum transported it back to the workshop. On inspection it was seen that the shell was in fair condition other than the firewall and drivers side floor, which were rusted out and needed to be replaced. The body is the normal van size but is fitted with an extra door on the driver’s side and a small seat where the doctor/ambo sits. Other than that the only other things were red dust and old wasp nests. After many months of restoration the ambulance now has a 173 red motor, Trimatic automatic transmission and the body has been painted in the Queensland Ambulance Service colour and markings. As the base station of the ambulance is unknown, other that they were used in the outback, we have made the decision to base it at Mt Isa We thank the Victorian Ambulance Historical group for the donation of the stretcher and other items. Also to the locals who donated the chassis, engine and body parts. Yellow 3 door van done up as an Ambulanceambulance, van, car

These 10 photographs were taken over two decades from the late 1950s to 1979 at the Army Survey Regiment, Fortuna, Bendigo. The two photos taken in 1961 are annotated with named personnel and the date. The other photos are not annotated with dates, locations and names of personnel, although the technicians in the last three photos taken in 1979 are positively identified. The photos were most likely taken in the Ballroom, Ante Room and Attic, Cartographic Squadron’s main production rooms on the top floor of Fortuna Villa. Scribing was the cartographic process of drafting topographic features such as drainage, relief, vegetation, roads and culture on specially coated map reproduction material. The cartographic technician scribed out the map feature such as a creek to a specified line width on the map sheet, using a tool affixed with a metal or sapphire tipped cutter.This is a set of 10 photographs of technicians scribing topographic features at the Army Survey Regiment, Bendigo. The photographs were printed on photographic paper and are part of the Army Survey Regiment’s Collection. The photographs were scanned at 300 dpi. .1) - Photo, black & white, c1950s. unidentified personnel in Cartographic Squadron .2) - Photo, black & white, c1960s. unidentified personnel in Cartographic Squadron .3) - Photo, black & white, c1960s. unidentified personnel in Cartographic Squadron Attic .4) - Photo, black & white, c1960s. Cartographic Squadron Attic .5) - Photo, black & white, Oct 1961. L to R: PTE P. Carseldine, PTE H.S. Pasley, PTE C.A. Brown, WO2 M.A. McLaren, CPL Jennifer H. Murray. Cartographic Squadron .6) - Photo, black & white, Oct 1961. CPL Jennifer H. Murray. Cartographic Squadron .7) - Photo, black & white, 1979. SPR Mick Ellis in Cartographic Squadron .8) - Photo, black & white, 1979. SPR Mark Casey in Cartographic Squadron .9) - Photo, black & white, 1979. SPR Sharon (Jones) Treble in Cartographic Squadron .10) - Photo, black & white, 1961. PTE BJ Madex. Cartographic Squadron.1 to .4 - annotated “Scribing” .5 – annotated “Scribing PTE P. Carseldine, PTE H.S. Pasley, PTE C.A. Brown, WO2 M.A. McLaren, CPL Jennifer H. Murray. Oct 1961” .6 - annotated “Scribing CPL Jennifer H. Murray. Oct 1961” .7 to .9 - annotated “Scribing” .10 – annotated “PTE Madex Oct 61”royal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr, carto

The donor and family of this gown were long-term Brighton residents, and the gowns were held by them as family heirlooms prior to donation to Brighton Historical Society. Originally owned by Elizabeth Emma Adams and Cecilia Elizabeth Adams, it is believed that the dress was brought to Australia by either a half brother, James Smith Adams, or a younger sister, Sophia Charlotte Louisa Adams (later known as Mother Rose Columba Adams). Elizabeth and Cecilia were the daughters of James Smith Adams (a squire, 1780-1860) and Elizabeth Emma McTaggart (1793-1843) of Tower House, Woodchester in Gloucester, a property which Elizabeth later inherited. Originally a monastery, Tower House had been converted into a stately home after the Reformation. According to information originally provided by the donor, the skirt portion of this dress (along with the bodice T0004.3) was made for either Elizabeth or Cecilia to be worn at the young Queen Victoria’s first 'drawing room ball' following the end of court mourning in 1838 for her uncle William IV who died in 1837. In 1838 Cecilia would have been twelve years old and Elizabeth would have been ten years old. It is possible that this dress was worn by one of the girls to this event as it is of appropriate dimensions for a child of that age, although its design is very formal and adult. Elizabeth was born on 30 June 1828 at Tower House and died on 1 May 1909. She created a scandal when she eloped with her first husband, Thomas Charles Gardiner at the age of 18. The validity of the marriage was later formally investigate and, while it was confirmed as valid, a second church wedding was subsequently held. Thomas died in 1878. Elizabeth subsequently remarried Reverend R. E. Blackwell, but was widowed again by 1889. Cecilia was born on 17 December 1826 and died in 1902 a spinster recluse in England. At the inquest into Cecelia's death in 1904 it was revealed that she had clearly come from a family of means as her home was filled to the brim with highly valuable goods, many in boxes. She was buried in the family vault at Woodchester. Elizabeth and Cecilia's sister Sophia converted to Roman Catholicism in 1851 and became a nun, taking the religious name 'Rose Columba'. In 1883 Mother Rose Columba led a group of eight to Australia, answering a call for Dominican sisters to nurse the sick in Adelaide. Upon arrival, she founded St. Dominic's Priory and the Church of Perpetual Adoration in North Adelaide, using her inheritance to build the chapel. Elizabeth's second son, George Henry Somerset, who inherited the Adams family estate dropped the 'i' in Gardiner and added the maiden name of his grandmother. Therefore, the family name has now become Gardner McTaggart. These Adams family entries have been updated with information provided by Dr Herbert Gardner McTaggart, great-grandson of George Henry Somerset in April 2016. Mr McTaggart contacted the society after finding our entries online.A hand and machine sewn cream, pale blue, orange and gold embroidered satin formal dress, the bodice dates from circa 1890. This dress shares a skirt with T0004.3, which dates from circa 1840. The bodice features a high scoop neckline with gathers at the base of the scoop and directly below where the bodice finishes creating fullness over the bust. The bodice front encloses the bust with a right panel over the top of a left panel and securing with two hook and eye closures over the left shoulder. The panels are secured together with 15 hook and eye closures. The sleeves are set neatly on the true shoulder and are elongated full puffs to just above the elbow. The fullness is created by nine pleats from the top of the shoulder over the back of the shoulder. At the base of the sleeve the fullness is gathered just above the elbow. At the centre back of the bodice are four inward facing pleats running from the centre neck to the waist. The bodice is secured around the waist with a tape and four hook and eye closures. The bodice is boned around the sides and back of the torso with eight bones. This bodice is finished at the waist with a pleated cummerbund of the dress fabric that is designed to appear to be a sash with two decorative bows. One front left of centre and one back right of centre. The skirt secures at the waist with an opening to the left of centre at the back. The skirt gathers tightly at the centre back with a dart on either side. The skirt has a front central panel and the skirt falls to floor length. At the back, the skirt is also floor length. The back of the skirt may have been modified at some time and may have originally finished in a train. It would be more appropriate to the period of the bodice, and the believed use of the dress with a train.cecilia elizabeth adams, elizabeth emma adams, queen victoria, tower house, woodchester, james smith adams, elizabeth emma mctaggart, sophia charlotte louisa adams, 1890s fashion

Set of three A4 printed newsletters, stapled in top left hand corner, titled "Tram 109" and two associated pamphlets. .1 - 4 pages - issue 1 - September 2001 - with introduction by Minister for Transport Peter Batchelor introducing the new route 109, Hubert Guyot (CEO Yarra Trams) about the Superstops, details of the new low floor trams and details of the extension to Box Hill along with time line. .2 - 4 pages - issue 2 - Autumn 2002 - message from CEO, diagrammatic map and attributes, and a general update on progress, including a timeline. .3 - single folded A3 sheet printed both sides - Issue 4 - Summer 2003 - noting the wheel chair access to tram, opening on 2/5/2003, message from CEO and launch details, including notes on patronage increase. .4 - Pamphlet - DL four fold - printed on gloss paper full colour dated Autumn 2002 with message from Minister for Transport Peter Batchelor, diagrammatic map of extension showing tram stop facilities and locations of important places, low floor trams and contact details for further information. .5 - Pamphlet - DL five fold - printed on gloss paper full colour dated c mid 2001 with message from Minister for Transport Peter Batchelor, details of Yarra Trams, why the extension and project map. Has Harry the Yarra Trams Infrastructure Mascot. .6 - Pamphlet - 4 fold A4 landscape - printed both sides, issue 3, noting the need for universal access, St Vincent's plaza upgrade and tram stop options.trams, tramways, yarra trams, route 109, box hill, mont albert, superstops, tram stops, opening, st vincent's plaza

The main photo is by Max Lowenhardt and shows John Green, Mrs Eva Penny (inside the tree and hardly visible) nursing Charlie, May, George and Nicolas Penny. Colin Silcock wrote of the tree on p.39 that the family lived int he hollowed-out butt for nine months in 1906-1907. It was 20 feet across at floor level with 12 feet of head room inside. Nicholas Penny ring-barked the tree in 1905, with it being 130 feet high with the top broken off. The fires the following year destroyed the tent in which he was living and hollowed out the tree. After "making a few alterations" Penny moved in and brought his wife and children across from Outtrim. They later built a more permanent home. The tree was destroyed in the 1926 bushfires. (ref Linda Barraclough)This magazine is a useful reference on Gippsland history.A 64 pp magazine, titled Gippsland Heritage Journal. It has a dark green cover with a photograph of the "Penny Tree" . The magazine is dated March 1996 and cost $7.50. It contains stories and photographs on the history of Gippsland.There is a library bar code on the outside back cover.gippsland-heritage-journal penny-tree history-gippsland

The McLean family, Hector John McLean and Louisa Frances (nee Green) and six daughters lived in Eltham during the period 1930 to 1934 inclusive. Lived in the former Evelyn Hotel at the time it was destroyed by fire in 1931. In reminiscences provided by daughter Edith, she recalls that her mother always blamed herself for the fire. When she finished cooking on the old wood stove she would always clean up and take the ashes outside in an ash pan to bury them for safety. She believed she must have dropped some oas she walked across the back verandah or the breeze caiught some sparks as she opened the door. It was a very hot day. She believed that they must have fallen down some cracks in the floor boards and smouldered on papers and rubbish in the cellar. It proved to be a very traumatic event for the family.louisa frances mclean (nee green), fountain hotel, evelyn hotel

The main entrance to Franco's was from Main Road. It was run by Sammy and another family member. Franco's was a 2 story restaurant. Pizza take away downstairs. Licensed, BYO upstairs. Downstairs originally had a female pianist/singer and the walls were a peachy pink colour with horse shoe shapes in the plaster, upstairs was a full function room with dance floor. It was renovated in the early 90s and a full bar added downstairs. They sold up and then opened a take away pizza shop on Bolton Street. The Penguin Drycleaners building was an extension built right over the entrance garden; the building to the left the former Volumes now Missing Gorilla. One of a series of 6 images taken by Eltham Shire Council officers recording litter being prevalent around the shopping precinct and carparks spreading from Luck Street through Commercial Place top Arthur Street, Elthamarthur street, car park, carparks, commercial place, eltham shopping centre, eltham shops, litter, luck street, franco's pizzeria, missing gorilla, volumes, penguin drycleaners

Mary Fogarty was a student at the School of Mines in the 1920s. She was a member of the Hockey team that was part of the Ballarat Hockey Association Competition. She studied Arts and Crafts and became a teacher at the SMB Technical Arts School. In 1945 she was in charge of the Girls' Preparatory Classes - Years 7 and 8. In 1950 she was asked to start the Technical School for Girls. !951 saw 30 Form 1 students in the ground floor of the old SMB Secondary School (E J Tippett Library/former Gaol Governor's residence). She had an assistant. 1952 saw another 30 students enrolled and two more staff. As the school grew they were given space in the Art School. Houses along Grant Street were bought with the intention of building a three storey building. The girls had Art with Art School Staff, Science in SMB Science Room and Music women of note, teacher, ballarat school of mines, smb campus, mary fogarty, student, hockey team, arts and crafts, technical arts school, girls' preparatory classes, technical school for girls, ballarat girls' technical school

The Wesleyan Methodist Church at Clunes is a distinctive bluestone building in the Gothic style and was designed by the Ballarat architect J.A. Doane. Construction began in 1864 and the church was further extended in 1871. The building consists of a broad nave and transepts with galleries, these having cast iron balustrades. The facade incorporates a slate-roofed octagonal turret and spire and a four-light perpendicular Gothic window. The interior includes windows with quarry glass panes and coloured borders; those on either side of the organ incorporate scrolled texts and may be by the Melbourne makers Ferguson & Urie. With declining congregations, the property was purchased by Wesley College in 1999 and now forms part of its Clunes campus. The church building has received a very extensive restoration, including structural strengthening, the opening out of the interior to its original dimensions and the installation of a new floor. Ref: https://www.ohta.org.au/organs/organs/ClunesUC.html Colour postcard showing a street view of the Clunes Methodist Church,clunes wesleyan methodist church, wesley college

The Wesleyan Methodist Church at Clunes is a distinctive bluestone building in the Gothic style and was designed by the Ballarat architect J.A. Doane. Construction began in 1864 and the church was further extended in 1871. The building consists of a broad nave and transepts with galleries, these having cast iron balustrades. The facade incorporates a slate-roofed octagonal turret and spire and a four-light perpendicular Gothic window. The interior includes windows with quarry glass panes and coloured borders; those on either side of the organ incorporate scrolled texts and may be by the Melbourne makers Ferguson & Urie. With declining congregations, the property was purchased by Wesley College in 1999 and now forms part of its Clunes campus. The church building has received a very extensive restoration, including structural strengthening, the opening out of the interior to its original dimensions and the installation of a new floor. Ref: https://www.ohta.org.au/organs/organs/ClunesUC.html Sepia postcard showing a street view of the Clunes Methodist Church,clunes wesleyan methodist church, wesley college

The Wesleyan Methodist Church at Clunes is a distinctive bluestone building in the Gothic style and was designed by the Ballarat architect J.A. Doane. Construction began in 1864 and the church was further extended in 1871. The building consists of a broad nave and transepts with galleries, these having cast iron balustrades. The facade incorporates a slate-roofed octagonal turret and spire and a four-light perpendicular Gothic window. The interior includes windows with quarry glass panes and coloured borders; those on either side of the organ incorporate scrolled texts and may be by the Melbourne makers Ferguson & Urie. With declining congregations, the property was purchased by Wesley College in 1999 and now forms part of its Clunes campus. The church building has received a very extensive restoration, including structural strengthening, the opening out of the interior to its original dimensions and the installation of a new floor. Ref: https://www.ohta.org.au/organs/organs/ClunesUC.html B & W exterior view of the Clunes Methodist Church, from the side.clunes wesleyan methodist church, wesley college

The Wesleyan Methodist Church at Clunes is a distinctive bluestone building in the Gothic style and was designed by the Ballarat architect J.A. Doane. Construction began in 1864 and the church was further extended in 1871. The building consists of a broad nave and transepts with galleries, these having cast iron balustrades. The facade incorporates a slate-roofed octagonal turret and spire and a four-light perpendicular Gothic window. The interior includes windows with quarry glass panes and coloured borders; those on either side of the organ incorporate scrolled texts and may be by the Melbourne makers Ferguson & Urie. With declining congregations, the property was purchased by Wesley College in 1999 and now forms part of its Clunes campus. The church building has received a very extensive restoration, including structural strengthening, the opening out of the interior to its original dimensions and the installation of a new floor. Ref: https://www.ohta.org.au/organs/organs/ClunesUC.html B & W exterior view of the Clunes Methodist Church.clunes wesleyan methodist church, wesley college

The Wesleyan Methodist Church at Clunes is a distinctive bluestone building in the Gothic style and was designed by the Ballarat architect J.A. Doane. Construction began in 1864 and the church was further extended in 1871. The building consists of a broad nave and transepts with galleries, these having cast iron balustrades. The facade incorporates a slate-roofed octagonal turret and spire and a four-light perpendicular Gothic window. The interior includes windows with quarry glass panes and coloured borders; those on either side of the organ incorporate scrolled texts and may be by the Melbourne makers Ferguson & Urie. With declining congregations, the property was purchased by Wesley College in 1999 and now forms part of its Clunes campus. The church building has received a very extensive restoration, including structural strengthening, the opening out of the interior to its original dimensions and the installation of a new floor. Ref: https://www.ohta.org.au/organs/organs/ClunesUC.html B & W exterior view of the Clunes Wesley College development. The image shows school buildings on a block next to the former Clunes Methodist Church.clunes wesleyan methodist church, wesley college

David Armfield studied at the National Gallery School in the 1940s and turned to full time painting in 1965. RMIT printamking. He has won several art awards, including the Ramsay Prize - NGV School, the Redcliffe and in 1980 the Eltham Prize. Armfield is represented in the National Gallery collection, Art Gallery of NSW, Tasmanian Art Gallery, several regional art galleries across Australia as well as private collections. David Armfield first came to Eltham in the late 1903s on painting trips and used to camp on the banks of the Diamond Creed. He returned to Eltham in 1957 with his wife Joan who has subsequently become one of the district's potters, and built a mud brick house and studio in John Street on land adjoining Peter Glass. He has painted many landscapes in the district including intimate studies of the bush floor and the aftermath of bush fires.Oil on canvas painting depicting a Panton Hill bush scape.Signed: D. Armfield in lower right hand corner. Not dated.david armfield, eltham art prize, panton hill

David Armfield studied at the National Gallery School in the 1940s and turned to full time painting in 1965. RMIT printamking. He has won several art awards, including the Ramsay Prize - NGV School, the Redcliffe and in 1980 the Eltham Prize. Armfield is represented in the National Gallery collection, Art Gallery of NSW, Tasmanian Art Gallery, several regional art galleries across Australia as well as private collections. David Armfield first came to Eltham in the late 1903s on painting trips and used to camp on the banks of the Diamond Creed. He returned to Eltham in 1957 with his wife Joan who has subsequently become one of the district's potters, and built a mud brick house and studio in John Street on land adjoining Peter Glass. He has painted many landscapes in the district including intimate studies of the bush floor and the aftermath of bush fires.'Untitled' by David Armfield an oil on canvas painting depicts sand, sea, distant mountains and various figures scattered about in a typical Armfield landscape. The figures tend to be annonymous, sometimes included more to establish the scale than for a narrative purpose. The figures are well clothed and it could be assumed that it is not a hot summer's day. Depth is established by changing of colours and diminishing the size of the figures.david armfield, beach, eltham, nillumbik shire council

David Armfield studied at the National Gallery School in the 1940s and turned to full time painting in 1965. RMIT printamking. He has won several art awards, including the Ramsay Prize - NGV School, the Redcliffe and in 1980 the Eltham Prize. Armfield is represented in the National Gallery collection, Art Gallery of NSW, Tasmanian Art Gallery, several regional art galleries across Australia as well as private collections. David Armfield first came to Eltham in the late 1903s on painting trips and used to camp on the banks of the Diamond Creed. He returned to Eltham in 1957 with his wife Joan who has subsequently become one of the district's potters, and built a mud brick house and studio in John Street on land adjoining Peter Glass. He has painted many landscapes in the district including intimate studies of the bush floor and the aftermath of bush fires. Painting: oil on canvas. Depicting the desolate aftermath of a bushfire in Eltham. Trees are bare and burnt, foreground is sparse, whilst background is fiery red.david armfield, eltham, bushfire

David Armfield: David Armfield studied at the National Gallery School in the 1940s and turned to full time painting in 1965. RMIT printamking. He won several art awards, including the Ramsay Prize - NGV School, the Redcliffe and in 1980 the Eltham Prize. Armfield is represented in the National Gallery collection, Art Gallery of NSW, Tasmanian Art Gallery, several regional art galleries across Australia as well as private collections. David Armfield first came to Eltham in the late 1930s on painting trips and used to camp on the banks of Diamond Creed. He returned to Eltham in 1957 with his wife Joan who has subsequently become one of the district's potters, and built a mud brick house and studio in John Street on land adjoining Peter Glass. He has painted many landscapes in the district including intimate studies of the bush floor and the aftermath of bush fires.Ceramic stoneware. Reduction fired, dolomite glaze, wax resist decoration over iron. Decorated/painted by David Armfield. Cast by Joan Armfield.

Marion “Annie” (Cooper) Harrison, a milliner by trade, designed and made women’s hats, initially in the 1940s in High Street, and later in the 1950s and 60s at 5 Princess Street. The hats were constructed upstairs in her shop in Princes Street while the ground floor was reserved for sales and display. She employed other milliners to assist but always ran the showroom herself. Hectic periods were in the weeks before the big racing carnivals when the many wealthy race-goers of Kew kept her busy. She typically walked to her business as she and her husband, Fred Harrison, lived locally. Annie died in April 2016, at the great age of 107 years. Her hats are held in local and national collections. This hat was worn by Kathleen Gervasoni, long term resident and former Mayoress of Kew, who purchased it from Anne Harrison.The Kew Historical Society’s fashion and design collection is comprised of costumes, hats, shoes and personal accessories. Many of these items were purchased or handmade in Victoria; some locally in Kew. The extensive hat collection comprises items dating from the 1860s to the 1970s. While most of the hats in the collection were created by milliners for women, there are a number of early and important men’s hats in the collection. The headwear collection is particularly significant in that it includes the work of notable Australian and international milliners.High crowned, taffeta lined, maroon velvet hat, designed and made by Anne Harrison of Kew. The hat features a narrow stiffened peak of the same fabric at the front and highlighting at the rear of the peak and on the crown in pale pink grosgrain braid. The back of the hat features grosgrain pink braid. Label, inside centre crown, woven in black on white polyester: *WM 9906 /Anne linHarrison OF KEW"anne harrison of kew, kathleen gervasoni, milliners - kew (vic), women's clothing, costume accessories - hats, cloche hats

Marion “Annie” (Cooper) Harrison, a milliner by trade, designed and made women’s hats, initially in the 1940s in High Street, and later in the 1950s and 60s at 5 Princess Street. The hats were constructed upstairs in her shop in Princes Street while the ground floor was reserved for sales and display. She employed other milliners to assist but always ran the showroom herself. Hectic periods were in the weeks before the big racing carnivals when the many wealthy race-goers of Kew kept her busy. She typically walked to her business as she and her husband, Fred Harrison, lived locally. Annie died in April 2016, at the great age of 107 years. Her hats are held in local and national collections. This hat was purchased and worn by Kathleen Gervasoni, a long-term resident and former Mayoress of Kew.The Kew Historical Society’s fashion and design collection is comprised of costumes, hats, shoes and personal accessories. Many of these items were purchased or handmade in Victoria; some locally in Kew. The extensive hat collection comprises items dating from the 1860s to the 1970s. While most of the hats in the collection were created by milliners for women, there are a number of early and important men’s hats in the collection. The headwear collection is particularly significant in that it includes the work of notable Australian and international milliners.Faux leopard skin brimmed hat, lined in black, trimmed with two pom poms at back. Designed and made by milliner Anne Harrison of Kew. Anne Harrison designed hats to order for clients, or you could choose a style and have it trimmed to taste.Label, inside centre crown, woven in black on white polyester: "WM 9906 / Anne Harrison OF KEW"anne harrison of kew, kathleen gervasoni, milliners - kew (vic), women's clothing, costume accessories - hats

Norma Tullo began her dressmaking business in 1956. At the age of 20, she rented a small shop in the Metropole Arcade, initiating a career that included manufacturing, designing and retailing. In 1965, she became the first Australian to be selected by Butterick Company Inclusive to join their pattern making company. The stylish Tullo ‘look’ in the first half of the 1960s was young, colourful, feminine and most importantly had a strong American appeal. The patterns were distributed worldwide except to Russia and Germany. At this time, she had a collection of 300 garments. In the second half of the 1960s, she developed a new design range, influenced by the American 'hippie' style, featuring floor length dresses with long narrow sleeves, high round collars, and ruffles on the hems and at the cuffs. Patterns and colours became brighter to match prevailing tastes. This blouse is one of a number of items donated to the Fashion Collection by Dione McIntyre.The McIntyre Collection of clothing and clothing accessories forms one of the largest single donations to our Fashion & Design collection. It includes clothing and clothing accessories worn by four women in the Cohen and McIntyre families across three generations. The items worn by Melbourne architect, and Kew resident, Dione McIntyre date from the 1960s and 1970s, and include evening wear, day wear, hats and shoes. As Dione McIntyre often accompanied her husband, fellow architect Peter McIntyre, to formal events, there are a number of pieces of evening wear among the items. The McIntyre Collection also includes items worn by women of an earlier generation: by Lilian Cohen, Dione McIntyre's mother, and by her mother-in-law, the wife of the architect Robert McIntyre. At the other end of the chronological spectrum are a number of outfits belonging to, worn and donated by Annie McIntyre. These include outfits created by notable late 20th century Australian and/or international fashion designers. The McIntyre Collection is significant historically and artistically as it includes examples of design that demonstrate changing tastes in fashion over an 80-year period. The collection is also significant in that it includes the work of a large number of Melbourne designers from the 1960s to the 1990s. Pale aqua coloured long sleeved silk blouse with an attached scarf of the same fabric and colour at the neckLabel: TULLO (removed)norma tullo, women's clothing, australian fashion - 1960s, blouses

Norma Tullo began her dressmaking business in 1956. At the age of 20, she rented a small shop in the Metropole Arcade, initiating a career that included manufacturing, designing and retailing. In 1965, she became the first Australian to be selected by Butterick Company Inclusive to join their pattern making company. The stylish Tullo ‘look’ in the first half of the 1960s was young, colourful, feminine and most importantly had a strong American appeal. The patterns were distributed worldwide except to Russia and Germany. At this time, she had a collection of 300 garments. In the second half of the 1960s, she developed a new design range, influenced by the American 'hippie' style, featuring floor length dresses with long narrow sleeves, high round collars, and ruffles on the hems and at the cuffs. Patterns and colours became brighter to match prevailing tastes.The dress was owned, worn and donated to the collection by Dione McIntyre.The McIntyre Collection of clothing and clothing accessories forms one of the largest single donations to our Fashion & Design collection. It includes clothing and clothing accessories worn by four women in the Cohen and McIntyre families across three generations. The items worn by Melbourne architect, and Kew resident, Dione McIntyre date from the 1960s and 1970s, and include evening wear, day wear, hats and shoes. As Dione McIntyre often accompanied her husband, fellow architect Peter McIntyre, to formal events, there are a number of pieces of evening wear among the items. The McIntyre Collection also includes items worn by women of an earlier generation: by Lilian Cohen, Dione McIntyre's mother, and by her mother-in-law, the wife of the architect Robert McIntyre. At the other end of the chronological spectrum are a number of outfits belonging to, worn and donated by Annie McIntyre. These include outfits created by notable late 20th century Australian and/or international fashion designers. The McIntyre Collection is significant historically and artistically as it includes examples of design that demonstrate changing tastes in fashion over an 80-year period. The collection is also significant in that it includes the work of a large number of Melbourne designers from the 1960s to the 1990s. Long sleeved black cotton dress the fabric of which includes a pattern of small beige and cream polka dots. The ends of the sleeves and the base of the dress include ruffled trims of the same fabric. Label: TULLOnorma tullo, australian fashion - 1960s, women's clothing, day wear, mcintyre collection

The Kew Civic Centre, as opposed to the adjacent Kew Civic Hall (see also Kew City Hall), was built to house a new Council Chamber and Council Offices in 1972. The Kew Library was to be located on the ground floor and accessed from the current carpark. This building replaced the former Town Hall in Walpole Street, Kew which had served as a town hall from 1865-1972. After the sale of the old Town Hall, the new Civic Centre was built to a design of the architects A K Lines, MacFarlane & Marshall. A fit-out of the building was still occurring when councillors and council officers moved into the building. In 1987, the Kew Library (and the Kew Historical Society) moved across the road to the reconfigured Civic Hall. The Civic Centre, pictured here, was ultimately sold to Trinity Grammar School following the amalgamation of Kew into the City of Boroondara.These four black and white photographs were taken by a photographer in the City Engineer's Department during the final construction phase. Each is dated and inscribed with a description.Laying of concrete tiles in the forecourt of the new Kew Civic Centre in 1972. The Civic Hall (now the Kew Library) is in the background. Annotated verso: "Civic Centre - Forecourt / 17.7.72"kew civic centre, kew civic offices, city of kew -- council chamber

The Kew Civic Centre, as opposed to the adjacent Kew Civic Hall (see also Kew City Hall), was built to house a new Council Chamber and Council Offices in 1972. The Kew Library was to be located on the ground floor and accessed from the current carpark. This building replaced the former Town Hall in Walpole Street, Kew which had served as a town hall from 1865-1972. After the sale of the old Town Hall, the new Civic Centre was built to a design of the architects A K Lines, MacFarlane & Marshall. A fit-out of the building was still occurring when councillors and council officers moved into the building. In 1987, the Kew Library (and the Kew Historical Society) moved across the road to the reconfigured Civic Hall. The Civic Centre, pictured here, was ultimately sold to Trinity Grammar School following the amalgamation of Kew into the City of Boroondara.These four black and white photographs were taken by a photographer in the City Engineer's Department during the final construction phase. Each is dated and inscribed with a description.Forecourt of the new Kew Civic Centre in 1972.Annotated verso: "Civic Centre - Forecourt / 16.7.72"kew civic centre, kew civic offices, city of kew -- council chamber

The Kew Civic Centre, as opposed to the adjacent Kew Civic Hall (see also Kew City Hall), was built to house a new Council Chamber and Council Offices in 1972. The Kew Library was to be located on the ground floor and accessed from the current carpark. This building replaced the former Town Hall in Walpole Street, Kew which had served as a town hall from 1865-1972. After the sale of the old Town Hall, the new Civic Centre was built to a design of the architects A K Lines, MacFarlane & Marshall. A fit-out of the building was still occurring when councillors and council officers moved into the building. In 1987, the Kew Library (and the Kew Historical Society) moved across the road to the reconfigured Civic Hall. The Civic Centre, pictured here, was ultimately sold to Trinity Grammar School following the amalgamation of Kew into the City of Boroondara.These four black and white photographs were taken by a photographer in the City Engineer's Department during the final construction phase. Each is dated and inscribed with a description.Tiling the steps leading from the forecourt to the new Kew Civic Centre in 1972.Annotated verso: "Civic Centre - Forecourt / 16.7.72"kew civic centre, kew civic offices, city of kew -- council chamber

The Kew Civic Centre, as opposed to the adjacent Kew Civic Hall (see also Kew City Hall), was built to house a new Council Chamber and Council Offices in 1972. The Kew Library was to be located on the ground floor and accessed from the current carpark. This building replaced the former Town Hall in Walpole Street, Kew which had served as a town hall from 1865-1972. After the sale of the old Town Hall, the new Civic Centre was built to a design of the architects A K Lines, MacFarlane & Marshall. A fit-out of the building was still occurring when councillors and council officers moved into the building. In 1987, the Kew Library (and the Kew Historical Society) moved across the road to the reconfigured Civic Hall. The Civic Centre, pictured here, was ultimately sold to Trinity Grammar School following the amalgamation of Kew into the City of Boroondara.These four black and white photographs were taken by a photographer in the City Engineer's Department during the final construction phase. Each is dated and inscribed with a description.Creating the forecourt to the new Kew Civic Centre in 1972.Annotated verso: "Civic Centre - Forecourt / 16.7.72"kew civic centre, kew civic offices, city of kew -- council chamber