Photograph of a hand thrown glazed stoneware canister with 'Gum Leaf' design. ceramics, gumleaf decoration, studio pottery, australian studio pottery

literature, ballarat rsl, ballarat

literature, ballarat rsl, ballarat

Yields information about Ballarat's decorated trams for Christmas and other events or fund raising. The basic decoration was able to recycled for other events as well. Tram decorated for Myers, at the time, a major department store.Black and White copy photograph of a newspaper photograph taken by The Courier, published 22/11/1968 of No. 21, decorated as "Santa's showboat", Sturt & Lydiard Sts corner, with a young lady passenger posed as boarding the tramcar. Decorated for Myers as a Christmas tram. Collected by Alan Bradley from the Ballarat Courier early 1980's. See Excel file "Record of Ballarat Courier Photos SEC era" (Archive Documents) for source of details.On rear stamped "Copyright, The Ballarat Courier Proprietary Limited."tramways, trams, sturt st, myers, decorated trams, christmas trams, tram 21

Yields information about Ballarat's decorated trams for Christmas and other events or fund raising. The basic decoration was able to recycled for other events as well - Begonia Festival.Black and White copy photograph of a newspaper photograph taken by The Courier, published 21/1/1969 of No. 21, decorated as "Begonia Festival showboat", at the Ballarat Depot, displaying the various festival activities. Has the destination of Lydiard St Nth. Collected by Alan Bradley from the Ballarat Courier early 1980's. See Excel file "Record of Ballarat Courier Photos SEC era" (Archive Documents) for source of details. See Reg Item 7219 for a printers block of a similar photograph.On rear stamped "Copyright, The Ballarat Courier Proprietary Limited."tramways, trams, depot, decorated trams, begonia festival, tram 21

Photograph taken by The Courier, published 29/3/1969 of No. 21, decorated as No. 21, "Trambulance", at depot. See Reg. Item 1110 for newspaper cutting, Tram photographed on the depot fan, with Lake Wendouree in the background. Yields information about Ballarat's decorated trams for Christmas and other events or fund raising. The basic decoration was able to recycled for other events as well - Ballarat Base Hospital.Black and White copy photograph used in The Courier.On rear stamped "Copyright, The Ballarat Courier Proprietary Limited."tramways, trams, depot, decorated trams, ballarat base hospital, appeals, tram 21

Yields information about Ballarat's decorated trams, in particular this one for fund raising. The basic decoration was able to recycled for other events as well - Ballarat Base Hospital.Black and White photograph of No. 21 decorated for the March 1969 fund raising appeal for the Ballarat Base Hospital, dressed as the "Trambulance". Photographed at the depot? See Also Reg Items1885, 3750 and 3231 for more details of the tram.Stamped on rear in black ink "Donated to BTPS by and Photo By" / "Chris Wurr 12 Truscott Street, Ararat 3377 (053) 52 3403.tramways, trams, ballarat base hospital, decorated trams, appeals, tram 21

Yields information about the appearance of Bendigo electric trams at the time of opening, how passengers could be seated, staff, paint schemes, decorations, and truck arrangements.Black and White photograph of four trams at Charing Cross, taken from the south east corner, looking towards the Beehive building and Ezywalkin stores. Trams 7, 5 and 26 in the photograph. Photo by Andrew Ward 15.1.1972.On rear in ink "Sat 15.1.72" / "single truck car 7 and bogie cars 5 & 26" in the top left hand corner and in a mix of ink and pencil "Bendigo Trust / Andrew C. Ward, Bendigo Vic 3550".trams, tramways, bendigo, charing cross, pall mall, tram 7, tram 5, tram 26

Demonstrates the use of the Santa Trams or decorated trams in Ballarat for the Christmas season. Yields information about their decorations.Digital Image of the two 1967 Santa Trams crossing with tram 18 at Depot Loop 21/12/1967. Tram 17 dressed as the Bridge St traders Santa tram and No. 32 as the Myers sponsored Santa Tram. Tram 17 as the destination of Mt Pleasant, No. 18 - Victoria St and No. 32 - Special. Photo by Mal Rowe. -------- Original Message -------- Subject: [TramsDownUnder] Happy Christmas and ... [1 Attachment] Date: Sat, 21 Dec 2013 10:10:13 +1100 From: Mal Rowe

Norway, around 1840, was the first country to produce and use glass fishing floats. Many of them can still be found in local boathouses. Christopher Faye, a Norwegian merchant from Bergen, is credited with their invention. The earliest floats, including most Japanese glass fishing floats, were handmade by a glassblower. Recycled glass, especially old sake bottles in Japan, was typically used and air bubbles/imperfections in the glass are a result of the rapid recycling process. Glass floats have since been replaced by aluminum, plastic, or Styrofoam. Today most of the glass floats remaining in the ocean are stuck in a circular pattern of ocean currents in the North Pacific.By the 1940s, glass had replaced wood or cork throughout much of Europe, Russia, North America, and Japan. Japan started using the glass floats as early as 1910. Now they are still highly sought after as decoration.A glass float with intact knotted rope net attachedfishing, floats, glass floats

The photo shows the streetscape of the corner of Learmonth and Warrenheip Sts, Buninyong, taking in the Crown Hotel and corner store (before redecoration).The photo shows former decoration of the Crown Hotel and corner store. From where the photo was taken, it also shows the avenue of elm trees before the service road was built on this western part of Learmonth St.Streetscape of Learmonth St & Warrenheip St corner, Buninyong, taken from southwest, showing Crown Hotel and corner store."1982"buninyong, crown hotel, corner shop, learmonth street, warrenheip street, streetscape

‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981japanese art, japanese packaging, tsutsumi, gift giving

‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981japanese art, japanese packaging, tsutsumi, gift giving

‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981japanese art, japanese packaging, tsutsumi, gift giving

‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981japanese art, japanese packaging, tsutsumi, gift giving

The Lady Barbara Grimwade Costume Collection is comprised of Lady Barbara Grimwade's personal apparel and includes 145 pieces of clothing, 10 hats, 19 handbags, 66 pairs of shoes and assorted accessories of gloves, belts and scarves. In its breadth, this significant acquisition ranges from the mundane to the memorable, therefore giving a balanced representation of one person's taste. Following Lady Barbara Grimwade’s death in March 1990, Ararat Gallery formally accepted the generous gift of clothing and accessories donated by Lady Grimwade's son, Mr Angus K Grimwade, on 28 August 1991. Subsequent smaller donations in 1995 enhanced the collection. Lady Grimwade's Scottish forebears, the Gaerloch Campbells, first settled in Australia in 1861 in the Ararat-Beaufort district. Her great great grandfather, Mr Henry Campbell, died on the voyage to Australia. His widow, Jane, with 10 of her 13 children, farmed and grazed land, firstly at Stockyard Hill then at Fiery Creek, near Buangor, before leaving the shire in 1873. Lady Grimwade held a privileged position in Melbourne society. As the wife of Sir Andrew Grimwade, a prominent businessman, Chairman of several boards and a Trustee of various committees, Lady Grimwade met with royalty, heads of state, politicians, corporate directors, and horse and cattle breeders. Excerpt from 'Hot Pink Summers' catalogue essay, Helen Jackson, 1995.

The land in North Kew between the Outer Circle Railway and the River Yarra was released in sections. This release included 80 lots. Most of this area was released during the Depression years in the early 1930s.Subdivision plans are historically important documents used as evidence of the growth of suburbs in Australia. They frequently provide information about when the land was sold on which a built structure was subsequently constructed as well as evidence relating to surveyors and real estate and financial agents. The numerous subdivision plans in the Kew Historical Society's collection represent working documents, ranging from the initial sketches made in planning a subdivision to printed plans on which auctioneers or agents listed the prices for which individual lots were sold. In a number of cases, the reverse of a subdivision plan in the collection includes a photograph of a house that was also for sale by the agent. These photographs provide significant heritage information relating house design and decoration, fencing and household gardens.One part of a massive subdivision of the Old Golf Links Estate in North Kew of 80 allotments bordering Sutherland Avenue, Ramsay Avenue, Belford Road, Beresford Street and Coleman Avenue. Inset on the plan at the top left, the route of the Outer Circle Railway is clearly marked. The Kew Golf Links is identified in its current location. The land on which Greenacres Golf Club was to be constructed is at this time marked as ‘Recreation Ground’. The ‘new bridge’ over the Yarra at Burke Road is also marked on the inset map. The Plan identifies the surveyor (sic) H.C. Crouch BCE MVIS, 443 Little Collins St., Melbourne. The date of the subdivision auction sale in identified as Saturday September 25th at three o'clock.Annotations: "E" top left. "Golf Links" top right. Lots 73-76 ticked and listed as "6" poundssubdivisions -- kew (vic.), old golf links estate

Subdivision plans are historically important documents used as evidence of the growth of suburbs in Australia. They frequently provide information about when the land was sold on which a built structure was subsequently constructed as well as evidence relating to surveyors and real estate and financial agents. The numerous subdivision plans in the Kew Historical Society's collection represent working documents, ranging from the initial sketches made in planning a subdivision to printed plans on which auctioneers or agents listed the prices for which individual lots were sold. In a number of cases, the reverse of a subdivision plan in the collection includes a photograph of a house that was also for sale by the agent. These photographs provide significant heritage information relating house design and decoration, fencing and household gardens. The photograph is also aesthetically significant as it was taken by J. E. Barnes, a nationally significant photographer. He was the most important photographer to have worked in Kew. He was active as a photographer in the district from c.1906 until his death in 1921. Best known as 'the Embarkation Photographer' (see the Australian War Memorial collection), Josiah Earl Barnes was also the official photographer employed by the Borough (and later Town, then City) of Kew. He clearly also completed commercial jobs for local businesses, as is the case in this photograph of a house for a local real estate and financial agent. A modest weatherboard house with rough-cast rendered walls. The gabled entrance incorporates elements of the Japanese aesthetic. The strong lines of the dark timber gable are reinforced by the colour and shape of the pickets in the fence. In contrast to an earlier period, the chimneys appear truncated. The use of extensive double-hung sash windows in the front rooms reflects a new interest in light in houses. The use of separate sunshades over windows in an earlier period is here replaced by an extension of the roofline over the window. The photographer Josiah Barnes died in 1921; so, the photograph of the house must predate this date. The location of the house, which was advertised for sale, has to date not been identified. Illegible inscription. Photographer's information on mount.josiah earl barnes, j e barnes, photography - kew, interwar housing - victoria, 1920s housing - kew

Subdivision plans are historically important documents used as evidence of the growth of suburbs in Australia. They frequently provide information about when the land was sold on which a built structure was subsequently constructed as well as evidence relating to surveyors and real estate and financial agents. The numerous subdivision plans in the Kew Historical Society's collection represent working documents, ranging from the initial sketches made in planning a subdivision to printed plans on which auctioneers or agents listed the prices for which individual lots were sold. In a number of cases, the reverse of a subdivision plan in the collection includes a photograph of a house that was also for sale by the agent. These photographs provide significant heritage information relating house design and decoration, fencing and household gardens.A prepossessing, large home constructed in the Arts and Crafts style. Located on the banks of the Yarra at 2 Young Street, Kew overlooking the factories of Richmond, the design of the house takes account of the gradient with the addition of a level below the front entrance. The elegant roof includes a number of projecting gables and dormers. The gables are typically half-timbered and rendered. In addition to the asymmetrically placed portico, there are at least two open verandas, supported by timber pillars and with roofs that reflect the overall pitch of the roof of the housereal estate photographs, 2 young street - kew

The numerous subdivision plans in the Kew Historical Society's collection represent working documents, ranging from the initial sketches made in planning a subdivision to printed plans on which auctioneers or agents listed the prices for which individual lots were sold. In a number of cases, the reverse of a subdivision plan in the collection includes a photograph of a house that was also for sale by the agent. Subdivision plans are historically important documents used as evidence of the growth of suburbs in Australia. They frequently provide information about when the land was sold on which a built structure was subsequently constructed as well as evidence relating to surveyors and real estate and financial agents. These photographs provide significant heritage information relating house design and decoration, fencing and household gardens.When 29 Uvadale Grove, Kew was offered for sale it was described as: ‘Kew. Fine locality, 3 minutes Cotham Road. Splendidly built 6 roomed Brick Villa. Rooms 17 x 14, 16 x 13, &c. Beautifully fitted throughout. Land 70 x 134 to ROW.’ The price was advertised as being £1,400. The house exhibits key features of Federation architecture such as the gabled roof with a facing of half-timber and stucco. The veranda has a curved corrugated iron roof supported by timber pillars and fretwork. The slate roof with terra cotta ridging and finials marks a transition to the more common use of Marseilles tiles in Federation architecture.subdivisions - kew (vic.), 29 uvadale grove - kew (vic.)

Subdivision plans are historically important documents used as evidence of the growth of suburbs in Australia. They frequently provide information about when the land was sold on which a built structure was subsequently constructed as well as evidence relating to surveyors and real estate and financial agents. The numerous subdivision plans in the Kew Historical Society's collection represent working documents, ranging from the initial sketches made in planning a subdivision to printed plans on which auctioneers or agents listed the prices for which individual lots were sold. In a number of cases, the reverse of a subdivision plan in the collection includes a photograph of a house that was also for sale by the agent. These photographs provide significant heritage information relating house design and decoration, fencing and household gardens.A photograph of Mount Eri, 9 Highbury Grove, an 11-room house for sale near the junction of Cotham and Glenferrie Roads. The substantial red brick, slate-roofed house and its location are not identified in the photograph, although the extent of the house is noted. It was described then as ‘well situated’ and close to 3 trams. Mathers, a financial agent in Cotham Road, placed advertisements about the sale of the property in The Argus in May and June 1919. The advertisement additionally refers to a billiard room and asserts that the house has every modern convenience. An annotation on the plan indicates that the house, with tennis court, was sold for £1960. Following extensive research, the house has now been conclusively identified, albeit extended and rendered. The house was originally built in the 19th century as a school and for much of the 20th century was used as a venue for receptions.

Subdivision plans are historically important documents used as evidence of the growth of suburbs in Australia. They frequently provide information about when the land was sold on which a built structure was subsequently constructed as well as evidence relating to surveyors and real estate and financial agents. The numerous subdivision plans in the Kew Historical Society's collection represent working documents, ranging from the initial sketches made in planning a subdivision to printed plans on which auctioneers or agents listed the prices for which individual lots were sold. In a number of cases, the reverse of a subdivision plan in the collection includes a photograph of a house that was also for sale by the agent. These photographs provide significant heritage information relating house design and decoration, fencing and household gardens.An old inscription on this photograph identifies it as ‘an elegant timber villa in High Street. It occupied part of Lot 91, bought by Edward Glyn in the land sale of 16th October 1851, and run as a flower farm’. The subdivision called the ‘Flower Farm Estate’ in East Kew occurred in 1922. [The subdivision plan is on the reverse of this photo.] The Estate included 61 lots on either side of Boorool Road between High Street and Harp Road. In the MMBW Detail Plan 2017 of 1926, a number of these new villas had already been built. Matching houses with MMBW maps can always be a challenge, however if this house was near the corner of Boorool Road and High Street, it seems to fit the profile of a house called ‘Maxton’ (demolished).Photographer's name on photograph, lower right, and stamp on mount lower right: "A. Aberline, Glenferrie".houses - maxton - high street - kew (vic.), violet farm estate, subdivisions - kew (vic.)

Subdivision plans are historically important documents used as evidence of the growth of suburbs in Australia. They frequently provide information about when the land was sold on which a built structure was subsequently constructed as well as evidence relating to surveyors and real estate and financial agents. The numerous subdivision plans in the Kew Historical Society's collection represent working documents, ranging from the initial sketches made in planning a subdivision to printed plans on which auctioneers or agents listed the prices for which individual lots were sold. In a number of cases, the reverse of a subdivision plan in the collection includes a photograph of a house that was also for sale by the agent. These photographs provide significant heritage information relating house design and decoration, fencing and household gardens. The photograph is of additional aesthetic significance as it was photographed by J. E. Barnes. Josiah Earl Barnes is a nationally significant photographer. He was also the most important photographer to have worked in Kew. He was active as a photographer in the district from c.1906 until his death in 1921. Best known as 'the Embarkation Photographer' (see the Australian War Memorial collection), J. Earl Barnes was also the official photographer employed by the Borough (and later Town, then City) of Kew. He clearly also completed commercial jobs for local businesses, as is the case in this photograph of a house for a local real estate and financial agent.A photograph, mounted on board of a double fronted Federation-era brick villa in Kew, photographed for a local real estate agent and financier by J. E. Barnes of Kew. On the reverse of the photograph is a subdivision plan for the Normanby Estate, East Kew - 2016.0039.1. As can be seen from the image, there is a large tear on the surface of the photograph.The brown card on which the photograph is mounted includes the following handwritten description, which may aid the identification of the house: "Kew, 3 minutes from tram, 8 roomed DF Brick Villa, tile roof including two attics, sleepout, bathroom, heater, E Light, Entrance Hall, double doors, leadlights, laundry, garden, lawns, land 75 x 170, 1975 pounds". Also photographers inscription on mount, lower left: J. E. Barnes / Photo / Phone 1966 Haw. KEW.j. e. barnes, josiah earl barnes, j. earl banes - photographer, architecture - federation style, houses - kew, real estate photographs

The photograph offers significant information relating to late Victorian / Federation colour schemes and fencing.The block fronted villa has a corrugated iron roof and a flat projecting verandah, ornamented with a trellis design of timber. The front window features a timber shade, mounted on brackets. The treatment of the block-fronted panels shows that there is an attempt to highlight imitation quoining through use of a darker colour. The windows and door are also in this darker shade. The front fence and gate are made of wooden pickets. It is unlikely that the photograph was taken at the time of the villa's construction given the size of the shrub/tree in the front garden.Subdivision plans are historically important documents used as evidence of the growth of suburbs in Australia. They frequently provide information about when the land was sold on which a built structure was subsequently constructed as well as evidence relating to surveyors and real estate and financial agents. The numerous subdivision plans in the Kew Historical Society's collection represent working documents, ranging from the initial sketches made in planning a subdivision to printed plans on which auctioneers or agents listed the prices for which individual lots were sold. In a number of cases, the reverse of a subdivision plan in the collection includes a photograph of a house that was also for sale by the agent. These photographs provide significant heritage information relating house design and decoration, fencing and household gardens.A real estate photograph, mounted on brown card, showing a double fronted weatherboard villa, located in Kew, Victoria. On the reverse of the photograph is a subdivision plan for the Altyre Estate.Stamped on mount: Top - "KEW. Close tram. Fine View. / W.B. Villa Containing 8 Rooms. / Up-to-date Conveniences. EL Etc." Below - "Land 40 x 165. 615 pounds. Sold"houses - kew, real estate photographs

The Kew Historical Society's map collection includes a substantial number of real estate subdivision plans, mainly of Kew but also of surrounding suburbs in Melbourne. Most of the subdivision plans date from the 1920s and 1930s when the districts old homes and local farmland were being split up to accommodate residential growth in the postwar period. These early plans were assembled by a local firm, Jas R Mather & McMillan, which had an office in Cotham Road. Many of the plans, and sometimes photos, were annotated by the agents.Subdivision plans are historically important documents used as evidence for the growth of suburbs in Australia. They frequently provide information about when the land was sold as well as evidence relating to surveyors and real estate and financial agents. The numerous subdivision plans in the Kew Historical Society's collection represent working documents, ranging from the initial sketches made in planning a subdivision to printed plans on which auctioneers or agents listed the prices for which individual lots were sold. In a number of cases, the reverse of a subdivision plan in the collection includes a photograph of a house that was also for sale by the agent. These photographs provide significant heritage information relating house design and decoration, fencing and household gardens.The photograph may also be aesthetically significant depending o the importance of the photographic atelier.Real estate photograph for a local agent by the Kew photographer, Josiah Earl Barnes. The photo is of a weatherboard or brick rendered bungalow with a twisted wire fence. Given Barnes' status a a Kew photographer, the house is probably locate din Kew or East Kew. Unfortunately the handwritten information on the mount bordering the photo is damaged and cannot be read. The bungalow has a gabled, tiled roof with terra cotta finials at the front of both gables. The house has a central doorway, framed by a pseudo portico supported by four wooden columns. On each side of the doorway, at the front, there are paired sash windows, which, like the half-timbered gable, are picked out in a darker colour.Handwritten, mostly illegible description by selling agent on mount surround: " .... in Diningroom, Drawing Rooms, ... Photographers details printed on mount: "J. E. Barnes / Photo / Phone 1966 Haw KEW"houses - kew, bungalows - kew, real estate photographs, j.e. barnes -- photographer

The Kew Historical Society's map collection includes a substantial number of real estate subdivision plans, mainly of Kew but also of surrounding suburbs in Melbourne. Most of the subdivision plans date from the 1920s and 1930s when the districts old homes and local farmland were being split up to accommodate residential growth in the postwar period. These early plans were assembled by a local firm, Jas R Mather & McMillan, which had an office in Cotham Road. Many of the plans, and sometimes photos, were annotated by the agents.Subdivision plans are historically important documents used as evidence for the growth of suburbs in Australia. They frequently provide information about when the land was sold as well as evidence relating to surveyors and real estate and financial agents. The numerous subdivision plans in the Kew Historical Society's collection represent working documents, ranging from the initial sketches made in planning a subdivision to printed plans on which auctioneers or agents listed the prices for which individual lots were sold. In a number of cases, the reverse of a subdivision plan in the collection includes a photograph of a house that was also for sale by the agent. These photographs provide significant heritage information relating house design and decoration, fencing and household gardens.The photograph may also be aesthetically significant depending o the importance of the photographic atelier.Real estate photographs of a classic double-fronted late Victorian brick villa. It central location in Cotham Road, Kew enabled the selling agent to note its proximity to the tram. With seven rooms, all ‘modern conveniences’, and land of 66×167, the house was to be sold for £1100. The villa has a number of interesting features including a pattern within the slate roof as well as the use of polychrome brickwork under the eaves and on the façade. The intricacy of the cast iron lace is emphasised by the line of projecting wooden blocks above it. The picket gate is painted a different colour to the pickets of the fence. The house has a name (illegible) that is attached to the inset cast iron lace of the central projecting gable in the veranda. Stamped on mount: "Kew. Central. Close tram. / Comfortable Brick Villa. / Containing 7 rooms / Modern conveniences: / Land 66 x 167. Sold 1100 pounds:"houses - kew, victorian villas, real estate photographs, cotham road - kew

The Kew Historical Society's map collection includes a substantial number of real estate subdivision plans, mainly of Kew but also of surrounding suburbs in Melbourne. Most of the subdivision plans date from the 1920s and 1930s when the districts old homes and local farmland were being split up to accommodate residential growth in the postwar period. These early plans were assembled by a local firm, Jas R Mather & McMillan, which had an office in Cotham Road. Many of the plans, and sometimes photos, were annotated by the agents.Subdivision plans are historically important documents used as evidence for the growth of suburbs in Australia. They frequently provide information about when the land was sold as well as evidence relating to surveyors and real estate and financial agents. The numerous subdivision plans in the Kew Historical Society's collection represent working documents, ranging from the initial sketches made in planning a subdivision to printed plans on which auctioneers or agents listed the prices for which individual lots were sold. In a number of cases, the reverse of a subdivision plan in the collection includes a photograph of a house that was also for sale by the agent. These photographs provide significant heritage information relating house design and decoration, fencing and household gardens.The photograph may also be aesthetically significant depending on the importance of the photographic atelier.On the reverse of a subdivision plan of the Palmyra Estate (Kew) is a photograph of a double-fronted Edwardian villa. The weatherboard and stucco house with high brick chimneys provides a clear indication of the style of curtains and gardens in houses of the period. Holland blinds with lace inserts are used in the left front window. They are combined with long lace curtains. The garden, with its curved pathway is bordered with garden beds that include marguerite daisies and roses. Reflecting a new interest in the Australian landscape, tree ferns and ground ferns are planted closer to the house.houses - kew, architecture - edwardian, real estate photographs

The Kew Historical Society's map collection includes a substantial number of real estate subdivision plans, mainly of Kew but also of surrounding suburbs in Melbourne. Most of the subdivision plans date from the 1920s and 1930s when the districts old homes and local farmland were being split up to accommodate residential growth in the postwar period. These early plans were assembled by a local firm, Jas R Mather & McMillan, which had an office in Cotham Road. Many of the plans, and sometimes photos, were annotated by the agents.Subdivision plans are historically important documents used as evidence for the growth of suburbs in Australia. They frequently provide information about when the land was sold as well as evidence relating to surveyors and real estate and financial agents. The numerous subdivision plans in the Kew Historical Society's collection represent working documents, ranging from the initial sketches made in planning a subdivision to printed plans on which auctioneers or agents listed the prices for which individual lots were sold. In a number of cases, the reverse of a subdivision plan in the collection includes a photograph of a house that was also for sale by the agent. These photographs provide significant heritage information relating house design and decoration, fencing and household gardens.The photograph may also be aesthetically significant depending on the importance of the photographic atelier.An undated and untitled hand-drawn and coloured subdivision plan detailing the boundaries of a number of irregular allotments bordering Cotham Road, Glenferrie Road and Stirling Avenue (now Stirling Street). The plan predates the actual subdivision that led to the creation of the eight commercial properties occupying 118-132 Cotham Road. The plan may represent an old subdivision that was further subdivided at a later date, or it may be a subdivision that never eventuated. On MMBW Detail Plan 1575 (1903), the area represented by the proposed subdivision was residential rather than commercial. The irregularity of lots is also apparent in the MMBW Plan. The largest of the unnumbered blocks on the hand-drawn subdivision plan may relate to the boundaries of the nineteenth century mansion identified as ‘Kelso’ on the MMBW Plan.subdivision plans - kew, cotham road - kew,, glenferrie road - kew , stirling avenue street - kew