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Ararat Gallery TAMA
Print, Nanette Bourke, No, I don't want to live to 100, Thank you, 1992
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Print, Nanette Bourke, Watch Over All Living Things, 1996
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Print, Nanette Bourke, Starleaf Grevillea, 2008
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Print, Nanette Bourke, Blue Devils, 1992
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Print, Nanette Bourke, Casuarina Grove, 2003
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Print, Nanette Bourke, Grasstrees, a different perspective, 1992
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Print, Nanette Bourke, Burnt Wattle's Tracery, 2008
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Print, Nanette Bourke, Smooth Fruited Grevillea, 1996
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Print, Nanette Bourke, Just a Gumtree, 2006
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Print, Nanette Bourke, The Cult of the Car - Carefree Youth, 1990
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Print, Nanette Bourke, The Cult of the Car - Obsolescence, 1989
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Print, Nanette Bourke, Scarlet Banksia, 1988
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Print, Nanette Bourke, She-Oak in Spring, 2002
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Print, Nanette Bourke, Aftermath, 2005
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Mixed media, Inga Hunter, Iboriis Robe of the Keeper of the Dead, 1986-1989
“The Keeper looks after the shrines of the dead and he is responsible for their wellbeing, to make sure that their spirits do not return to make trouble for the living. Beyond their grave there is no blame, so he keeps all the dead, criminal, foreign etc. Keepers are not often seen because they live well away from all social groups, being supposed to spend most of their time in the nether world. The Keeper’s Robes carry complex amulets or protection from the dead, who he both guards and fears. He must also stop the living from using his charges against one another. His life is almost totally ritual, given over to chants and spells. He will never marry, but will breed by impregnating a selected mate in order to carry on the line, the office is hereditary. When his children are old enough, they are apprenticed to him and must live apart from the community, looked after by a nurse and taught all the rituals necessary for their future career. Very occasionally, a child is chosen from the community because of some special characteristic - precognition, albino colouring, special interest in the dead etc. At any time there might be up to twelve apprentices of various ages who assist the Keeper in his work. These children are taboo to all others, who must close their eyes if they accidentally catch sight of an apprentice.” -Inga Hunter -
Kew Historical Society Inc
Ceremonial object, Unknown, Commemorative Trowel in Presentation Box, 1971, 1982
WADE, Ivan Mayor 1969-70, 1970-71 Ivan Wade grew up in Bendigo and Brunswick, one of eight children. After his marriage, he moved with his wife and young family to Kew in 1951. In 1959, he took a year’s sabbatical in 1959 to build a new family home for his wife and four children at 222 Cotham Road, Kew. He worked professionally in the Meat Industry, successfully building a small chain of retail butcher shops, and a meat exporting business. He worked for improvements in the Trade through involvement in the Meat and Allied Trades Federation, of which he was the first State, and then Federal President. He was to be awarded an OBE for his services to the Meat Industry in 1979. Having been a long-time member of Melbourne Lions Club, he helped start Chadstone Lions’ Club as an inaugural tenant of the Chadstone Shopping Centre in 1979. He was also a tireless worker for charity, making his home available for functions raising funds for local groups. His passion for the community led him to stand for Kew Council as a representative of College Ward. As a councillor, he was elected mayor for two terms. During his term of office, new Kew Municipal Offices were constructed in Cotham Road. An active worker for the Kew Elder Citizens Association, he was involved in the establishment of an Opportunity Shop in Walpole Street to raise funds for the development of a new Centre in High Street. The Opportunity Shop was used to train locally unemployed youth skills such as furniture repair. (GW)Silver presentation trowel associated with the opening of significant civic projects in the former City of Kew.Commemorative, inscribed silver-plated presentation trowel given by the City of Kew to the Mayor, Cr Ivan Wade, on the occasion of the laying of the foundation stone of the new Kew Civic Centre on the corner of Cotham Road and Charles Street, now part of Trinity Grammar School. The silver trowel was presented in a black leather case lined with blue velvet. The trowel was to be used a second time in 1982 when Cr Wade and his wife laid the foundation stone of Hamer Court. The trowel was later donated to Kew Historical Society Inc by Gwlad Wade, the wife of Cr Ivan Wade, on 20 August 2000. Front: "Presented to Cr Wade J.P. / Mayor of / the City of Kew / at the laying of the / foundation stone / of the / Kew Civic Centre /20-8-1971." Reverse: This trowel was also used / by / Cr Ivan Wade OBE JP & Mrs Gwlad Wade / at the laying / of the foundation stone / of / "Hamer Court" / Hostel for the Aged / 22nd August 1982"cr ivan wade, hamer court, commemorative trowels, kew civic offices, city of kew 1860-1993 -
Kew Historical Society Inc
Photograph - Female Staff, Kew Hospital for the Insane, c.1929
Following a Royal Commission in 1854, the building of a new Asylum at Kew began in 1864. It was built to replace the Yarra Bend Asylum on the Fairfield side of the Yarra River. Work started in 1864 and was completed in 1872 at a cost of ₤198,334. Operating over a period of 116 years, and often renamed to take account of public sensitivities, the ‘Kew Lunatic Asylum’ was one of the largest asylums built in Australia. ‘Willsmere’ was finally closed in December 1988 and sold by the Government of Victoria in the late 1980s.A rare and historically significant photograph of female staff of the Kew Hospital for the Insane, in front of the central wing. The photograph is one of a pair donated to the Kew Historical Society by Frances Dorothea Van Brummelen (1931-2011) in 1994. Following her graduation as a social worker, Fran Van Brummelen joined the staff of Kew Cottages in 1969, and became senior social worker there in 1971. She remained at the cottages until she retired in 1994. Earlier, In 1987, with psychiatrist Cliff Judge, she founded the Kew Cottages Historical Society becoming its president. In 2002, the pair collaborated on the book Kew Cottages: the World of Dolly Stainer, which was later commended in the Victorian Community History Awards. Panoramic photograph of group of female staff in north courtyard, in front of Administrative Wingkew lunatic asylum, kew mental hospital, kew hospital for the insane, willsmere -
Kew Historical Society Inc
Manual, H E Daw, Air Raid Precautions : Manual of General Training, 1941
Part of a suite of materials used by Air Raid Precautions (ARP) wardens in Kew in the Second World War. Air raid wardens managed groups of people in using air raid facilities that were constructed throughout the district. The ARP scheme was based on that developed in the United Kingdom.Primary resources showing the materials and advice developed to protect civilians on the home front. Examples of such support in the Kew Historical Society's collection includes advice for authorised community representatives, insignia and equipment.72-page manual provided to air raid wardens following their training during the Second World War. The booklet was issued by the State Emergency Council for Civil Defence, Victoria. Fourth Edition, 1941second world war 1939-1945, second world war - air raid precautions, air raid precautions - manuals, arp, air raid precautions, state emergency services victoria 1939-1945, second world war — air raid precautions, world war 2 — 1939-1945, home front — kew (vic.) -
Kew Historical Society Inc
Booklet, State Emergency Council for Civil Defence, Air Raid Precautions: Advice to Householders, 1941
Air raid precautions distributed to householders in Victoria. The booklet is part of a suite of materials used to support Air Raid Precautions (ARP) during the Second World War. Air raid wardens managed groups of people in using air raid facilities that were constructed throughout the district. The ARP scheme was based on that developed in the United Kingdom.Primary resources showing the materials and advice developed to protect civilians on the home front. Examples of such support in the Kew Historical Society's collection includes advice for authorised community representatives, insignia and equipment.This booklet was published by the State Emergency Council for Civil Defence Victoria in April 1941. The 37-page work provides advice about what to do in an air raid, lighting restrictions, the use of road vehicles and safety for pedestrians, and shelters. The final pages of the book include a number of illustrations providing guidelines for air raid shelter construction. second world war - air raid precautions, state emergency council for civil defence victoria - 1939-45, arp, air raid precautions, second world war — air raid precautions, state emergency council for civil defence victoria — 1939-1945, world war 2 — 1939-1945, home front — kew (vic.) -
Kew Historical Society Inc
Certificate, State Emergency Services Victoria, Air Raid Precautions Certificate No.43417, Mr S J Gare, 5 Bowen St., Kew, 1942
Part of a suite of materials used by Air Raid Precautions (ARP) wardens in Kew in the Second World War. Air raid wardens managed groups of people in using air raid facilities that were constructed throughout the district. The ARP scheme was based on that developed in the United Kingdom.Primary resources showing the materials and advice developed to protect civilians on the home front. Examples of such support in the Kew Historical Society's collection includes advice for authorised community representatives, insignia and equipment.Certificate awarded to Mr. S. J. Gare of 5 Bowen Street, Kew in 1942 after successfully completing an air raid precautions course, dated 25th March 1942.second world war 1939-1945 - kew (vic), arp, state emergency services victoria 1939-1945, second world war — air raid precautions, world war 2 — 1939-1945, home front — kew (vic.) -
Kew Historical Society Inc
Document, State Emergency Services Victoria, Form R3. General Message (for all messages other than original Air Raid damage), 1939-1945
Part of a suite of materials used by Air Raid Precautions (ARP) wardens in Kew in the Second World War. Air raid wardens managed groups of people in using air raid facilities that were constructed throughout the district. The ARP scheme was based on that developed in the United Kingdom.Primary resources showing the materials and advice developed to protect civilians on the home front. Examples of such support in the Kew Historical Society's collection includes advice for authorised community representatives, insignia and equipment.Stationery to be used in an air raid warden's report during the second world war in Australia (Victoria)air raid wardens - kew (vic), second world war 1939-1945, second world war - air raid precautions, arp, air raid precautions, state emergency services victoria 1939-1945, world war 2 — 1939-1945, home front — kew (vic.) -
Kew Historical Society Inc
Certificate, State Emergency Council for Civil Defence, Air Raid Warden: Mr. S.J. Gare, 5 Bowen St., Kew, 1939-1945
Part of a suite of materials used by Air Raid Precautions (ARP) wardens in Kew in the Second World War. Air raid wardens managed groups of people in using air raid facilities that were constructed throughout the district. The ARP scheme was based on that developed in the United Kingdom.Primary resources showing the materials and advice developed to protect civilians on the home front. Examples of such support in the Kew Historical Society's collection includes advice for authorised community representatives, insignia and equipment.Small blue covered certificate identifying Mr. S. Gare, 5 Bowen Street Kew as an Air Raid Warden.arp, air raid precautions, state emergency services victoria 1939-1945, second world war — air raid precautions, state emergency council for civil defence victoria — 1939-1945, world war 2 — 1939-1945, home front — kew (vic.) -
Kew Historical Society Inc
Uniform, Air Raid Precautions Warden Armlet, c.1941
Part of a suite of materials used by Air Raid Precautions (ARP) wardens in Kew in the Second World War. Air raid wardens managed groups of people in using air raid facilities that were constructed throughout the district. The ARP scheme was based on that developed in the United Kingdom. The collection of ARP items, originally belonging to Mr Samuel James Gare of Bowen Street, Kew, was donated five years after his death by his son.Primary resources showing the materials and advice developed to protect civilians on the home front. Examples of such support in the Kew Historical Society's collection includes advice for authorised community representatives, insignia and equipment.White rubberised canvas armband with tape ties. Printed in black on the band is 'ARP/WARDEN'. A similar example in the Australian War Memorial's collection notes that this: "Example of the type of Air Raid Precaution (ARP) armband used by the State Emergency Service (SES) of Victoria during the Second World War; this style worn by ARP wardens. The Victorian style of armband differed from those of other states, and is indicative of the variety of ARP organisations found across the states."Inscribed on reverse: "KH-2019"air raid precautions - uniforms, second world war 1939-1945, arp, air raid precautions, state emergency services victoria 1939-1945, second world war — air raid precautions, world war 2 — 1939-1945, home front — kew (vic.) -
Kew Historical Society Inc
Archive (Sub-series) - Subject File, Kew Historical Society, Kew Association, 1974
... sources. kew - history kew association - kew (vic) community ...Various partiesReference, Research, InformationSecondary valuesSubject file on ‘The Kew Association’ formed in 1974 as a separate group to the Kew Historical Society. Its constitution, which is filed, is general in nature. One part of the Association’s interests was the formation of a Historical Working Group to ‘examine historic buildings and other aspects of Kew’s history’. A founding member of the Society, Joy Stewart, was its convenor. By June 1974 it had 133 members. It differed from the Society in that it specifically aimed to improve Council services. One of its achievements was to begin a ‘historical home survey’ by street. The survey documents in the file list street name, number of house, side of street, size of house and general observations. Other information in the archive file includes correspondence, agendas, minutes etc. of the Association. As these only cover the years 1974-5, this may have been the period in which the group operated.kew - history, kew association - kew (vic), community groups - kew (vic), heritage - kew (vic)kew - history, kew association - kew (vic), community groups - kew (vic), heritage - kew (vic) -
Kew Historical Society Inc
Photograph - 'Copy Shop', Old Masonic Hall, Walpole Street, 1970s
The 'Copy Shop' in Walpole Street, Kew was located in the former Masonic Hall. It was a community operated facility. The 'shop' was designed for use by groups to run off leaflets or newsletters. It also served as a community space where people could drop in for a coffee and leave leaflets and information about events in the City of Kew. Two polaroid photographs, Thea Sartori in a red jumper is in both photographs. The woman in the pink cardigan is Aileen Cahill. Both photos were taken at the 'Copy Shop' in the old Masonic Hall [demolished] in Walpole Street. front: "Copy Shop"copy shop - walpole street - kew (vic), community facilities -- city of kew, masonic hall -- kew (vic.) -
Kew Historical Society Inc
Archive (Sub-series) - Subject File, Community Clubs (Kew), 1958
... sources. community groups -- kew (vic.) Archive file containing ...Various partiesReference, Research, InformationSecondary Values (KHS Imposed Order)Subject file containing a newspaper article/clipping from 2010 relating to an event held by the Kew Toastmasters.community groups -- kew (vic.)community groups -- kew (vic.) -
Kew Historical Society Inc
Archive (Sub-series) - Subject File, East Kew Women’s Club, 1945-70, 1958
... by the Club. kew (vic) - history kew east (vic) - community groups kew ...Various partiesReference, Research, InformationSecondary Values (KHS Imposed Order)Most of the original manuscripts of the Club (attendance registers, minutes of meetings, histories etc.,) are kept separately in archival boxes. The reference file contains a copy of the 9-page history of the Club’s history from 1945-65 a newspaper clipping relating to a 25-year anniversary lunch.kew (vic) - history, kew east (vic) - community groups, kew east (vic) - womenkew (vic) - history, kew east (vic) - community groups, kew east (vic) - women -
Kew Historical Society Inc
Archive (Series) - Subject File, Eastern Freeway (Kew), 1979
... sources. kew (vic) - history kew east (vic) - community groups kew ...Organisation generatedReference, Research, InformationSecondary Values (KHS Imposed Order)Subject file containing sundry newspaper files about protests against the freeway’s construction, land acquisition, speeding, noise etc. There is also a CRB brochure of ‘Your Eastern Freeway Driver’s Guide’kew (vic) - history, kew east (vic) - community groups, kew (vic) - roadskew (vic) - history, kew east (vic) - community groups, kew (vic) - roads -
Kew Historical Society Inc
Archive (Sub-series) - Subject File, Kew Historical Society, Friends of Kew Library, 1958
... sources. friends of kew library community groups -- kew (vic ...Various partiesReference, Research, InformationSecondary Values (KHS Imposed Order)A Subject file with material relating to the Friends of the Kew Library. The file includes correspondence, notices of meetings, and a collection of brass plates given by the Friends with gifts to the Library.friends of kew library, community groups -- kew (vic.)friends of kew library, community groups -- kew (vic.) -
Kew Historical Society Inc
Archive (Sub-series) - Subject File, Kew Historical Society, Friends of Walmer Street, 1958
... sources. kew historical society - archives community groups - kew ...Various partiesReference, Research, InformationSecondary Values (KHS Imposed Order)Single item subject file containing a newspaper article/clipping about a Friends of Walmer Street activity involving Xavier College students.kew historical society - archives, community groups - kew (vic), walmer street - kew (vic), xavier college - junior school - kew (vic), action groups -- kew (vic.)kew historical society - archives, community groups - kew (vic), walmer street - kew (vic), xavier college - junior school - kew (vic), action groups -- kew (vic.)